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Kim, David Young

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David Young Kim

The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style

Index

Author

David Young Kim

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00160.015

Stable URL: https://aaeportal.com/?id=-14361

Index

All index entries shown here correspond to the page numbers within the printed edition only. Within this digital format these page numbers allow for cross referencing only.

Abate, Niccolò dell’, 238

Accademia del Disegno (Florence), 39, 45–46, 201, 234

Accademia di San Luca (Rome), 234–35, 236–37, 238

Adam and Eve, 35, 36, 66

Aelst, Pieter Coecke van, Moeurs et façons des Turcs, 92, 93

Aeneas, 74, 155, 155

Aesop, Fables, 181

Aglaphon, 131

Agostino Veneziano, The “Academy” of Baccio Bandinelli, 200, 200

Ahl, Diane Cole, 114

air. See aria

Alamanni, Luigi, La coltivazione, 83

Alaric, King of the Visigoths, 191

Alba, Duke of (Ferdinando Álvarez de Toledo), 213

Alberti, Leon Battista, 49, 94, 114–15, 130, 132, 141, 208–9, 241; Dello scrivere in cifra, 71–72, 71; De pictura and De statua, 131; De re aedificatoria, 45, 52, 171

Alberti, Pietro Francesco, A Painter’s Academy, 235, 236–37

Alberti, Romano, 235

Albertinelli, Mariotto, 225–26

Albertini, Francesco, 200; Memoriale di molte statue e picture sono nella incylta cipta di Florentia, 100; Opusculum de mirabilibus novae et veteris urbis Romae, 148, 200

Albertus Magnus, 41

Alciato, Andrea, “Vili,” Emblematum Libellus, 180, 181

Alcibiades, 214

Alcionio, Pietro, Among the Greatest Anguishes, 177–78

Aldrovandi, Giovanni Francesco, 138, 139

Aldrovandi, Ulisse: “Icon Regis Quoniambec” (Monstorum historia), 43; On Animal Insects, 132

Alexander III, Pope, 167

Alfonso I, Duke of Ferrara, 139, 171, 226

Alfonso I, King of Naples, 32, 33, 109, 161; Triumphal Arch, 106, 107, 108, 108

alienation, 1, 211

allegorical mobility, 2, 132, 140–41, 143, 177, 193, 194, 201, 234; conflation with physical mobility, 220–21; copia and, 114; mountains as metaphors for, 113; as pilgrimage, 7, 14, 111–14, 140–41, 141, 214, 220; varietà and, 227

Alpers, Paul, 66

Alpers, Svetlana, 35

Alps, 111, 173

Altichiero, 98

Alvarez, Francesco, 193

Amadeo, Giovanni Antonio, Certosa di Pavia façade, 93

Amelang, James, 216

Americas (New World), 2; hieroglyphics, 119, 120; indigenous people, 42, 43, 43, 50, 52, 131, 134; varietà and, 131–32, 134

Ames-Lewis, Francis, 72

amnesia, 106

ancient world: air connotations and, 44, 46; artistic origins in, 39–41; literary voyages and, 74; style variation and, 239–40; travel to sites of, 26; varietà prescriptions, 131

Ancona, Lotto and, 11, 12, 21, 182

Andrea de’ Ceri, 148

Andrea del Castagno, 32, 110–11

Andrea dell’Aquila, 108

Andrea del Sarto. See Sarto, Andrea del

Angevin Castelnuovo fortress, 106, 197

Angevin court (Naples), 72

Angiolello, Maria, 168

Anonimo Magliabechiano, 61–62, 65, 69, 132

Anselmi, Antonio, 164, 165

Antiquaria prospetiche romane (anon.), 193, 194

antiquities, 15, 18, 40, 88, 90, 138, 150, 160, 190, 219; Barbarian destruction of, 42, 43, 191; Brunelleschi and, 92, 94, 97, 116, 119, 194; ethnic differences in, 58; Filippino and, 116, 118, 119; importance to artists of, 176, 177; as study models, 193, 195, 198–200, 203, 204

Antonello da Messina, 32, 33, 53, 171; travel to learn oil technique, 109–10, 110, 183

Antonio Veneziano, 65, 75, 114, 150, 211; The Return of Saint Rainerius to Pisa, 115

Apelles, 131, 203

Apelles’s line, 70

Arca, Niccolò dell’, 139

architectural orders, 50, 128, 131; Brunelleschi and, 94–95, 96–97, 96, 119; coiffure likened to, 224, 225; distinction between, 178; hierarchy of, 97

architecture, 139; aria and, 44, 45, 141; Brunelleschi and, 89–97, 128

Aretino, Pietro, 162, 164–72, 176, 177, 180, 181, 184–86, 218; on decorum, 186; Lettere, 165; on varietà, 185

Aretino, Spinello. See Spinello Aretino

Arezzo: aria and, 141; artists from, 62, 65, 67, 69, 73, 76, 78, 84, 86, 114, 171, 183; Etruscan bronze chimera, 40; Gothic style and, 45; Medici renovation of, 67; Vasari house in, 69, 157, 158, 159. See also Margaritone d’Arezzo; Niccolò d’Arezzo

aria, 43–46, 80, 133, 161, 163, 179; artists and, 141–42, 143, 241; art theory and, 45–46; bifurcated nature of, 141; climatic theory of arts and, 44–46, 141, 240; connotations of, 43, 45, 143; as disease carrier, 45, 141, 142, 148; metaphoric use of, 45, 48, 53; as stylistic cleansing agent, 53

Ariosto, 184

Aristotle, 46, 132; On Sense and Sensible Objects, 225; On the Soul, 225; Politics, 49; Rhetoric, 111

Armenini, Giovanni Battista, 3, 6, 194–215, 216; on benefits of foreign travel, 202–3; on exploitation of bottega system, 220; eyewitness mode of (see De’ veri precetti della pittura); on Flemish techniques, 206; journey throughout Italy of, 200, 214–15, 219; on mobility, 202–15, 219, 227, 234, 240; model of behavior and, 214–15; recommended Roman study curriculum, 200–201, 219; on Rome, 194–202, 211, 212–13; on sensory supremacy of vision, 225; on storia, 207

Arnaut Daniel, Purgatorio, 73

Arnolfo, 45

Arrian, Flavius, 134

art history, 4–6; importance of location and, 83, 240; influence and, 4, 13, 25–33, 37–38; methodological questions, 216; mobility-style linkage and, 6, 13, 239–41; regional focus of, 166, 239–40; representation of mobility and, 34; on Roman antiquities, 15; theory vs. practice and, 6; Vasari as “godfather” of, 67

artifex viator, 112–13

artistic contamination. See contamination

artistic death, Vasari’s definition of, 41

artistic greatness, qualities of, 192

artistic mobility. See mobility

artists’ names, 67–68

art literature, 2, 3, 4, 132, 161–62, 230, 241; regional patriotism and, 189–90

Asiaticus, 75

Aspertini, Amico, 90, 133

Assisi, 68, 69

astratto, 89–90, 92

astrological influence, 5, 26–27, 33, 44, 73, 125, 239, 241; Michelangelo’s genius and, 139, 143, 227; style and, 190, 227; travel and, 87

Attic order, 96

Attius, 148, 149

Augsburg, 12, 173

autobiography. See eyewitness mode

Avignon, 75, 78

Aztecs, 119

Babylonia, 39, 40

Baccio d’Agnolo, 150

Bacon, Francis, Essays, 75

Baglione, Giovanni, 235

Baglione, Luca, L’arte del predicare, 190

Bakhtin, Mikhail, 72

Balcari, Feo, 3

Baldassini, Marchionne, 148

Baldi, Bernardino, Versi e prose, 189

Baldinelli, Baldino, 87

Baldinucci, Federico, 192, 224

Ballini, Gasparo, 185

Ballino, Giulio, De’disegni delle più illustri città, 186

Bandinelli, Baccio, 101, 128; Academy, 200, 200, 204

Barbarian invasions, 39, 41–46; aria as symptom of, 43, 45; and artistic decline, 5, 43, 46, 48, 191–92; and Dark Ages onset, 53; purging of artistic effects of, 50, 52–53; Vasari’s flood metaphor for, 54–55. See also sack of Rome

Barbaro, Francesco, De re uxoria, 145

Barberini, Raffaello, 193

Barberino Veneziano (Jacopo de’ Barbari), 162, 164

Barbeu-Dubourg, Jacques, 30

Barkan, Leonard, 6, 92

Barocchi, Paola, 34

Barocci, Federico, 6, 30, 34, 218, 228, 230

Barolsky, Paul, 64–65

Bartoli, Cosimo, 39, 45, 52, 71

Bartolommeo, Fra, 18, 35, 36, 126, 132, 142–43, 201, 203, 225, 235; Approach to a Mountain Village, 142, 143; St. Paul, 142, 143, 144; St. Peter (and Raphael), 142, 143, 144

Bartolozzi, Francesco, The Last Judgment in Outline (after Michelangelo)

Basarini, Marco, 86

Basilica del Santo (Padua). See Santo

Bastiano Mainardi da San Gimignano, 87

Battista della Palla, 172

Baxandall, Michael, 6; “Excursus Against Influence,” 26; Patterns of Intention, 26

Beccafumi, Domenico, 207, 208; Glory of Angels, 208, 209

Bellano, Bartolomeo, 101, 103–6; David with the Head of Goliath, 104, 105; Samson Destroys the Temple of the Philistines, 105–6, 105

Bellay, Guillaume Du, Peregrinatio humana, 112

Bellini, Gentile, 105, 162, 167, 168, 169, 172, 186; coloring technique transmitted from father to, 183; Ottoman honors and, 108–9; Portrait Medal of Sultan Mehmet II, 169, 186; Saint Mark Preaching in Alexandria (detail), 109

Bellini, Giovanni, 13, 16, 21, 86, 109, 167, 176, 178, 182; coloring technique transmitted from father to, 183; St. Jerome Reading in a Landscape, 15; Saint Mark Preaching in Alexandria (detail), 109; Saint Thomas Aquinas, 90, 164, 165

Bellini, Jacopo, 120, 183

Belliniano, Vittore, 186

Bellosi, Luciano, 34

Belvedere (Rome), 199, 199, 200, 235

Bembo, Bonifacio, 181

Bembo, Pietro, Cardinal, 164, 165, 177; Gli asolani, 165; Prose della volgar lingua, 165, 194

Benedetto da Maiano, 108

Benedict XI, Pope, 70, 72

Berenson, Bernard, 12

Bergamo, 7, 12, 15, 16, 18, 24, 162, 181, 182, 184

Berlinghiero, 55, 57; Madonna and Child, 57

Berlioz, Hector, 217

Bernardo da Venezia façade, 93

Bernini, Gian Lorenzo, 27

Bertucci, Giovanni Battista, 210

Berugotta, Alonso, 128

Bessarion, Basilios, Cardinal, 167

Bettarini, Rosanna, 34

Bianconi, Carlo, 206

Biblioteca Hertziana (Rome), 219

Bigio, Francia, 128

Bildungsreise, 203

Biondo, Flavio, 46–47, 83; De Roma instaurata, 148; Italia illuminata, 173

Biondo, Michelangelo, 169; Della nobilissima pittura, 84

bizzarie, 119–20

Boccaccio, 75, 139, 162; Decameron, 49; Teseida delle Nozze, 69

Bocchi, Francesco, Bellezze della Città di Fiorenza, 190

Bodin, Jean, Six livres de la République, 44

Bologna, 12, 86, 116, 135; Dürer travel to, 203, 235; Gothic style and, 45; guidebook to, 189; Michelangelo and, 138, 139; painters from, 133, 238; refugees from sack of Rome in, 212; Titian and, 173, 176; as “true school of artists,” 238

Boncompagno da Signa, 41

Bondone. See Giotto

Bordone, Paris, 186; The Fisherman Presenting St. Mark’s Ring to the Doge, 188, 228

Borghini, Raffaele, Il Riposo, 113–14

Borghini, Vincenzo, indices of place-names, 81, 82, 83

Borromeo, Federico, Cardinal, 221

Boschini, Marco, 184; La carta del navegar pitoresco, 111

botanical classification, 95–96, 96

Bottari, Giovanni Gaetano, 73

bottega system, 229

Botticelli, St. Augustine, 89–90, 90

Bourdieu, Pierre, 163

Bouts, Dieric, 109

Bramante, 27, 129

Brambilla, Pompeo, Relatione delle feste . . . , 228

“Brazilian Village” (woodcut), 52

Bronzino, 226

Brunelleschi, Filippo, 83, 89–97, 94, 128; abstemious lifestyle of, 226; achievements of, 94–95, 119, 128; classical orders and, 94–95, 96–97, 119, 178; dome and, 80; Pazzi Chapel design (attrib.), 97; Roman ruins exploration, 90, 92, 94, 100, 116, 121, 138, 178, 194; universal style and, 103

Bruni, Leonardo, 84; De Interpretatione Recta, 132

brushes, source of, 206

brushwork, 3, 181, 182

Bry, Theodore de, 2

Burckhardt, Jacob, 3; The Civilization of the Renaissance in Italy, 2, 165

Burton, Robert, Anatomy of Melancholy, 233

Bynum, Caroline Walker, 42

Byzantine Empire, 72

Byzantine style (maniera greca), 5, 41, 43, 57–63, 134, 227; Berlinghiero and, 55, 57, 57; characteristics of, 48–49, 50; critics of, 48–49, 50, 54, 168–69, 238; demise of, 50, 53, 54, 66, 80, 84, 128, 141; dissemination in Italy of, 46–48, 55, 58, 60, 61, 62, 63, 63, 76; last gasps of, 62–63; as stasis, 49, 50; Venice and, 47, 167, 172; Virgin and Child and, 47–48, 47

Calabrese, Giovanni Piero, 220

Calandra, Gian Giacomo, 148

Calopodio da Candia. See Sideri, Giorgio

Cambiaso, Luca, 206

Camera degli Sposi (Mantua), 230, 231

Camillo, Giulio, 164; Idea del Teatro, 165

Camillus, Furius, 75

Campanella, Tommaso, 90, 92

Camposanto (Pisa), 58, 59, 114

Cancelleria, Sala dei Cento Giorgi (Rome), 157

capitals. See architectural orders

Carafa Chapel (Rome), 118

Carafa family, 200, 213

Cardano, Girolamo, 44

Carlo Emanuele I, Duke of Savoy, 224, 227, 230

Carmine Chapel. See Santa Maria del Carmine

“carnivalesque” speech mode, 72

Carpaccio, 186

Carracci, Annibale, 32, 238

Casa di Vasari (Arezzo), 69, 157, 158, 159

Casella, Pierleone, 218, 221, 226, 228, 230

Casentino. See Jacopo di Casentino

Casini, Giovan Maria, 231

Castello, Giovan Battista (“Il Bergamasco”), 206

Castello del Buonconsiglio fresco of months (Trento), 79, 80

Castelnuovo, Enrico, 65

Castel Sant’Angelo (Rome), 13, 16, 148, 178

Castiglione, Baldassare, 131, 148

Catena, Vincenzio, 86

Caterina Cornaro, Queen of Cyprus, 165

Cato, 100

Cattaneo, Giovanni Maria, 3, 4

Cattaneo di Casnigo, Marcantonio, 12

Cavalcanti, Giovanni, 27

Cavalcaselle, G. B., 126

Cecca, 192

celestial influence. See astrological influence

Cellini, Benvenuto, 36, 45, 73, 128, 148, 181, 217, 226; Jupiter, 217; Vita, 217–18

Celsus, 180, 181

Cennini, Cennino, 84, 111, 132, 192; Il libro dell’arte, 49

central Italy, 16, 18, 24, 163, 167; disegno and, 137, 155; merits of artists of, 190; northern Italian style vs., 181; oil technique and, 111; style of, 218; varietà and, 161

Certeau, Michel de, 151

Certosa di Pavia façade, 92, 93, 97

Cesariano, Cesare, 50; “Discovery of Fire in the Golden Age” (woodcut), 50, 51 Cesi, Angelo, 35, 39

Cesi Chapel frescoes, 28, 34, 35, 35, 36

Cézanne, Paul, 26

Chaldea, 39, 40

Charles V, Holy Roman Emperor, 66, 162, 173, 174, 176

Charles of Anjou, 108

Chaucer, Geoffrey, 194

Chigi, Agostino, 142, 178

Chigi Chapel frescoes, 10, 36, 37, 135

Chiodi, Luigi, 12

Christ, 76; Parable of the Weeds, 80; sermon on book of Isaiah, 74–75

Christian, Kathleen, 200

Christianity, 2, 42, 43, 112

Christ in Judgment mosaic, 48, 48

Chrysoloras, Manuel, 46–47

Chrysostom, John, St., 90

Cicero, 44, 46, 63, 83, 100; De finibus bonorum et malorum, 74; De inventione rhetorica, 131; De oratore, 131, 132; Philippics, 2

Cieco, Niccolò, 87

Cimabue, Giovanni, 30, 75, 108; discovery of Giotto by, 64, 64, 65, 66, 67, 68, 69; fame of, 69; signs of artistic greatness and, 192; style and, 43, 54–55, 57–58, 61, 62, 63; The Expulsion from Egypt, 61, 62; The Madonna and Child in Majesty Surrounded by Angels, 55, 56, 57, 57

Cima da Conegliano, 13, 182

ciphers: diplomatic, 72; Giotto’s style related to, 71–72

city, 83–87; as artist identifier, 87; country interaction with, 64–68, 80; mobility to, 65, 80, 121

Ciuffoletti, Zeffiro, 66–67

civitas, 84, 86

classical forms, 15, 26, 39–40; Armenini on

Roman sites for study of, 198–200; degeneration of, 43; ornamentation and, 116, 118; timelessness of, 50. See also antiquities; architectural orders

Clement VII, Pope, 72, 120, 177

climate, 44–46, 141, 240

Clusius, Carolus, 95–96

code. See ciphers

“code-switching,” 214

Codex Barberiano, 90, 91

Codex Saluzziano, 224, 225

Codex Zouche-Nutall, 120, 121

coiffure, 222, 223, 224–25

Colleoni, Bartolomeo, 18, 165

Colleoni Martinengo, Alessandro, altarpiece commission, 16–17, 17, 18

Collini, Giovan Luigi, 221

Colonna, Fra Francesco: Hypnerotamachia Poliphili, 112, 113; “Poliphilo in the Ercynian Forest,” 113

coloring (colorito), 111, 155, 162, 179–84, 203, 235, 238; artist exemplars of, 12, 195; disegno vs., 132, 137, 155; Flemish techniques, 206, 207; northern Italy and, 206, 207, 208, 214. See also oil technique

Columbus, Christopher, 2, 193

Columbus, Ferdinand, 193

community (communitas), 204, 206, 214

Compagni, Dino, 53; Cronica delle cose occorrenti, 69

competition, 73, 86–87, 204, 220

concession, 62–63

Condivi, Ascanio, 139

confusione, 193

Conegliano, Giovan Battista da, 46

Constantine, Emperor of Rome, 42, 43

Constantinople, 47, 92, 105, 169, 238; Hippodrome, 167, 169; van Aelst print of, 92, 93; Venetian diplomat to, 72

contamination, 4, 46–49, 80, 125, 161

copia/coposità, 114–15

copying. See imitation

Cordelliaghi, Giovannetto, 86

Corinth, journey to (proverb), 176–77

Corinthian order, 22, 50, 94, 95, 96, 97, 183

Cornaro, Giovanni, 218

Correggio, 113, 176, 203, 206, 218

Corrozet, Gilles, Hecatomgraphie, 112

corruption of style, 4, 5, 46–49, 134, 214

Cortés, Hernán, 119

Cosimo I. See Medici, Cosimo I de’

Cossa, Lorenzo, 83

Counter-Reformation, 92

courtesans, 177

courtiers, 72

Crassus, 131

Cristoforo da Messisbugo, Banchetti, 226

Crivelli, Carlo, 30, 173

Crowe, J. A., 126

Cutler, Anthony, 59

Cyprus, Archbishop of, 148

Daniele da Volterra, 209

Dante, 73, 74, 139, 162; Florence and, 75, 106; Giotto portrait of, 68; Virgil as guide for, 193, 212, 220; works: Commedia, 84, 112; Convivio, 69; De vulgari eloquentia, 134; Inferno, 106, 193, 201, 203, 212; Paradiso, 66

Danti, Vincenzo, 181; Trattato delle perfette proporzioni, 45–46

Dark Ages, 41, 43; MCCL as end of, 52–53

death, meanings of, 41–42

decorum, 186, 187, 189

Deguilleville, Guillaume de, Le romant des trois pèlerinages, 112

della Porta, G. M., 142, 235

della Porta, Giovan Battista, 193

della Porta, Tomasso, 235

Delli, Dello, 108, 150

deluge metaphor, 54–55, 80, 114

Democritus, 74

design. See disegno

detail, hazards of study of, 201–2

De’veri precetti della pittura (Armenini), 190–215, 191, 216, 219, 220, 227, 238

dialects, 238

Dialogo. See Dolce, Lodovico

difference (differenza): ethnicity and, 61–62; between Florence and Rome, 151, 153; place and, 36, 38, 210; style and, 35–37, 151–52, 155, 156, 178, 210–11; temporality and, 36, 38, 49–53, 103; travel accounts of, 61; as travel writing focus, 61

diffusion: of fame, 171, 172, 173; as germination, 79, 80; of style, 44, 79, 80, 92, 151, 212, 218, 227

diglossia, 214

Dioscuri horsemen statue (Rome), 199

disease, aria carrier of, 45, 141, 142, 148

disegno, 114, 126, 162, 228, 238; central Italy and, 137, 155; colorito vs., 132, 137, 155; feathers metaphor and, 180–81, 227; Giotto’s “O” and, 72; travel to Rome to learn, 194, 211

diversity. See varietà

Dodoens, Rembert, Histoire des plantes, 95

Dolce, Lodovico, 4, 6, 73, 198; extensive oeuvre of, 162; literary counterparts to, 189; mobility and, 203, 211, 219, 227, 234, 240; regional polemic of (see Venice);

works Dialogo della pittura (L’Aretino), 89, 162–78, 163, 180, 181, 182, 184–88,189, 198, 211, 219, 227; Il primo libro di Sacripante, 184; Lettere del gran Mahumeto imperadore de’ turchi, 168; “Topics to Be Memorized Organized as a City,” 41, 41, 169

Domenichi, Lodovico, 209

Dominici, Giovanni, 26

Donatello, 80, 97–106, 176, 211; bas-reliefs, 98, 99, 101, 102, 103; Bellano copyings of style of, 103–4, 105–6; Florence and, 83, 100, 103, 145, 150; Padua and, 61–62, 98–104, 172, 227; Rome and, 89, 90, 92, 128, 138, 178, 194; self-sufficiency of, 101; style and, 102–3, 178, 227; works: The Ascension with Christ Giving the Keys to St. Peter, 102, 103; Calvacanti Annunciation, 68, 103; David with the Head of Goliath, 104, 105; Gattamelata equestrian statue, 98–99, 99, 100, 101, 103, 230; High Altar of the Santo, Relief Showing the Miracle of the Newborn Child, 101, 102; Judith and Holofernes, 104–5; Miracle of the Wrathful Son, 101; St. George, 190

Doni, Anton Francesco, Firenze Illustrata (planned), 189–90

Doria, Andrea, 155, 206, 211, 214

Doric order, 50, 94, 95, 96

Dosio, Giovanni Antonio, Roma, 195, 196–97

Dossi brothers, 184

Douglas, Mary, 46

Duccio, 62, 69, 108

Ducq, Joseph-François, 109; Antonello da Messina in the Studio of Jan van Eyck, 110

Dürer, Albrecht, 1, 12, 13, 25; Germanic style and, 185; Pontormo mimicry of, 135; Raphael rapport with, 134–35; travel to Bologna of, 203, 235; Venetian stay of, 13, 184, 185; visual difference and, 61; works: Christ before Herod, 135, 136; Lady in Venetian Dress Contrasted with a Nuremberg “Hausfrau,” 62; Nemesis (The Great Fortune), 134, 135, 182; St. Jerome in the Wilderness, 13, 15; Sea Monsters, 155; Virgin of the Rose Garlands, 13, 184

education, 84, 86, 87, 227; in Rome, 195, 198, 211, 219, 234–35; from travel, 203

Egyptians, 39, 40, 45, 50

Einflüsse des Himmels (influence of the heavens) concept, 239

Electoral Gallery (Düsseldorf), 238

Eliade, Mircea, 55

Empson, William, Some Versions of Pastoral, 65

environmental determinants, 44, 46, 141, 145, 240. See also aria; place

envy (invidia), 75–76, 108–9, 110–11, 111

Epimenides, 210–11

epistolary genre, 218, 221–25

equestrian statuary, 104, 199; Donatello and, 98–99, 99, 100, 101, 103, 230; Federico Zuccaro and, 230, 232

Erasmus, Dialogues on the Proper Pronunciation of Latin and Greek, 184

Este Monument (Ferrara), 101

Ethiopians, 40, 41, 193

ethnicity, 58, 61–62; artistic merit and, 184; cross-cultural dialogue and, 186; stylistic variation and, 153, 181, 239–40; writing on, 49–50

Etruscans, 40, 183

Eudoxia, 191

exile, 5, 66, 161

Eyck, Jan van, 106, 128; oil technique, 32, 33, 109–10, 110; Van der Paele Madonna, 109

eyewitness mode, 6, 200, 201, 203–15, 216–33, 234

Fabian, Johannes, Time and the Other, 49

Fabriano, Gentile da, 167, 185

Fabrini, Giovanni Francesco, 90, 162, 164, 165, 166, 169, 171, 176, 177, 178, 181–82

Falaschi, Enid, 64

Falcone, Giuseppe, La nuova vaga, et dilettevole villa, 66

fame, 68–72, 73, 74, 75, 80, 84; allegorical representation of, 69, 70; diffusion of, 171, 172, 173; mobility as handmaiden of, 69, 108

fantocci, 192

Farnese family, 177, 179

fatiche, 114

Fauno, Lucio: Compendio di Roma antica, 194–95; Delle antichita della citta di Roma, 148

Fazio, Bartolommeo, De viris illustribus, 161

feathers metaphor, 180–81, 198, 227

Federico II, Duke of Mantua, 171, 173–74

Federico Zuccaro. See Zuccaro, Federico

Federigo da Montelfeltro, 69

Ferrara, 12, 45, 101.139, 171, 173, 184, 217, 218, 226; oil technique, 110

Filarete, 46, 106, 190

first-person narrative. See eyewitness mode

Flemish painters, 161; coloring techniques, 206, 207; transfer of oil technique to Italy, 32–33, 109

flood. See deluge metaphor

Florence, 3, 172, 207; Accademia del Disegno, 39, 45–46, 201, 234; aria (climate) and, 45, 141, 142; artisan envy and, 108–9; as artistic center, 14, 65, 75, 76, 80, 83, 84, 85, 86, 87, 97, 104, 106, 109, 128; artists born in, 125, 132–33; artist travel to, 65, 75, 86, 87, 88, 128; artist travel to Rome from, 36, 88–89, 90; art literature on, 189–90; Bellano and, 104–5; buon fresco medium and, 155; Byzantine style and, 47–49, 47, 58, 60, 61, 61, 66; Cellini expatriation from, 218; Cimabue and, 54–55, 57–58, 65, 75; competitive atmosphere of, 73, 86; cultural supremacy of, 172; diplomatic ciphers and, 72; Donatello and, 83, 100, 103, 106, 145, 150; Giotto and, 64–69, 76, 150, 151; Gothic style and, 45, 92; guidebook to, 100; Michelangelo and, 138, 139, 141, 142; Michelangelo’s body brought back to, 234; modern style and, 86, 87, 151; oil technique and, 109, 110–11; Perino and, 143, 148, 150–51; as political center, 67; Raphael and, 12, 128–29, 134, 190, 235; repatriation to, 150, 217, 234; Rome contrasted with, 36–37, 151, 153; Rosso displacement from, 34–37; siege of (1529-30), 12, 139, 172; style and, 53, 80, 87, 97, 151, 152, 153; Vasari and, 30, 53, 69, 86, 157, 162, 164, 218. See also Medici listings

Florence Baptistery: bronze doors, 86, 217; Donatello and, 100; mosaics, 58, 60, 61, 61, 62, 63, 75

Florence Cathedral: Coronation of the Virgin mosaic (Gaddi attrib.), 63, 63; Dome, 84, 85; Donatello sculptures, 100

Floris, Frans, 1

Fontana Maggiore (Perugia), 126, 128

food and drink, 225–27, 241

foreign, definition of, 7

France, 36, 106, 111–12, 133, 172, 238; Cellini studio in, 217–18; Renaissance in, 27, 28–29

Francesco da Carrara, 75

Francesco di Giorgio Martini, 94, 225; Codex Saluzziano, “Ionic Column,” 224, 225; Jesi palaces, 22, 23

Francia, Francesco, 135, 238

Francis I, King of France, 36, 172

Franco, Giacomo, Il gran Conseglio dell’eccelsa Republica Venetiana, 167

Frangenberg, Thomas, 6

Franzese, Claudio, 142, 226

Frederick I Barbarossa, Holy Roman Emperor, 167, 171

Frederick II, Holy Roman Emperor, 52

Fugger family, 148

Gadamer, Hans-Georg, 171

Gaddi, Agnolo, 54, 65, 78

Gaddi, Gaddo, 62–63, 73, 75; Coronation of the Virgin (attrib.), 63, 63, 172

Gaddi, Taddeo, 65, 67, 73, 76, 84, 114, 172

Galasso Ferrarese, 110

Galen, 46

Galli, Jacopo, 138

Gallwitz, Karl Ludwig: Handbuch der italienischen Renaissancemaler, 30, 30; “Umbrien Marken,” 30, 38

Gaudenzio Ferrari, 190, 222

Gauricus, Pomponius, 104

Geary, Patrick, 41–42

Gelli, Giovanni Battista, 48, 50

Gellius, Aulus, Attic Nights, 177

gender, 180

Genoa, 72, 83, 102, 106, 116, 206, 212; Perino and, 153, 154, 155, 214

Gentile da Fabriano, travel notebook, 120

geographic license, 18–21, 23–24, 25, 38

geography. See place

Georgette de Montenay, Emblemes, ou, Devises chrétiennes, 112, 113

germination, 79, 80, 241

Gerolamo da Modena, 111

Gessner, Conrad, 96

Geymüller, Heinrich Adolf von, Die Baukunst der Renaissance in Frankreich, 26–27, 28–29, 30, 32–33, 38, 41

Ghiberti, 43, 64, 65, 69, 75, 83, 87, 94, 94, 114, 176, 190, 217; Doors of Paradise, 80; I commentarii, 40, 141

Ghirlandaio, Domenico, 87, 114, 133, 140

Ghirlandaio, Ridolfo, 128, 145

Ghirlandaio, Benedetto and Davide, 87, 133

Giambologna, 218, 222, 226, 230–31

Giambullari, Pier Francesco, 39, 201, 203; Il Gello, 52

Giampiero da Padova, 101

Giants of the Monte Cavallo (Rome), 199

Gilio da Fabriano, Dialogo nel quale si ragiona degli errori e degli abusi de’ pittori circa l’istorie, 187

Ginzburg, Carlo, 65

Giordano, Fra, 2

Giorgione, 126, 128, 142, 167, 179, 225

Giotto, 43, 49, 53, 54, 64–72, 75, 84, 98, 103, 141, 150, 151, 218; background of, 64, 65, 66, 67; dissemination of style of, 76–80, 128, 162, 227; fame of, 68–72, 80; and Florentine Baptistery mosaic, 58; mobility of, 68–69, 76, 80, 81, 128; and Navicella mosaics, 69; “O” of, 70–72; students of, 76; woodcut portrait of, 68; works: Annunciation, 68; Coronation of the Virgin, 68; Lamentation over Christ, 78; Stultitia, 181; Wedding at Cana (Master of the Feast), 70, 71

Giottus Fiorentinus, 7

Giovanni da Udine, 145

Giovanni da Brugia, 33

Giovanni dalle Bande Nere, 73

Giovanni della Casa, 66, 192

Giovan Simone, 45

Giovio, Paolo, 3, 4, 5, 119; Historiarium sui temporis, 52

Girolamo de Treviso, 155

Giuliano de Maiano, 106, 108; Palazzo Como, 107

Giulio Romano, 12, 30, 133, 155, 204, 209, 211, 218, 222; Fall of the Giants, 228

Giunti (publisher), 33

Giusto, 98

Goethe, Johann Wolfgang von, 173, 217

Goltzius, Hendrick, Tabula Cebetis, 112

Gonzaga, Federico, 211

Gonzaga, Francesco, 228

Gothic style (maniera tedesca), 5, 27, 41, 50, 53, 116; Brunelleschi rejection of, 89, 92, 94, 97, 128; diffusion of, 43–44, 45, 92, 227; dislike of, 46, 227; Roman aria and, 141

Goths, 191

Gozzoli, Benozzo, 30, 111, 112, 114, 160, 220; The Curse of Canaan, 114, 115; Joseph and His Brothers, 114; Journey of the Magi, 114

Granacci, Francesco, 87, 128, 132

Greco, El, 32, 54

Greece, 39, 40, 44, 46, 50, 74

Greek style. See Byzantine style

Gregory XIII, Pope, 234–35

Gritti, Alvise, 186

grotesques, 145, 146–47, 148, 201–2

Guarino, Battista, 49

Guasco, Francesco Eugenio, Delle ornatrici, et de’ loro uffizii, 225

Guglielmo da Forlì, 76

guidebooks, 92, 100, 148, 194–95

Guillaume de Marcillat, 139, 226

hair, 222, 223, 224–25

Hapsburgs, 213

health, climate and, 43, 45, 141, 143, 241

hearing, 6, 225

Heemskerck, Maerten van, 1; The Belvedere Tiber and Nile (attrib.), 199; The Garden in the Casa Galli, with Michelangelo’s statue of Bacchus, 138, 138; Self-Portrait with the Colosseum, 111

Henry, Tom, 126

Henry II, King of France, 50

Henry III, King of France, 226

Henry IV, King of France, 226

Hercules, 220, 222

Hippocrates, Airs Waters Places, 44, 45, 143

Hollanda, Francisco de, 32, 153, 155, 194, 198, 206; Tractato de pintura antigua, 194

Holy Land, 211

Honnecourt, Villard de, 1, 203

Horace, 75, 165; Ars Poetica, 94, 95, 185, 186; Epistles, 74, 177; “Epistle to Julius Florus,” 180, 181

horoscope, 139

human body, 18, 45, 152; Michelangelo depiction of, 137, 138, 139, 204

Humfrey, Peter, 11, 12, 13

Hungary, 108, 116

Iacopo dell’Indaco, 87

Iacopo del Tedesco, 87

Ibrahim Pasha, 186

iconoclasm, 167

illusionism, 87

imitation (imitatio), 49, 103–4, 105, 111, 121, 131, 135; of antiquities, 200; art studies in Rome and, 195; bedecked with feathers metaphor, 180–81, 198, 227; Federico Zuccaro and, 228; of Michelangelo’s style, 201

indices, of place-names, 81, 135

influence: as art historical term, 4, 13, 25–33, 37–38; as astrological concept, 5, 26–27, 33; diagrams of, 26–27, 28–29, 30, 32–33, 32, 38, 41; environmental contagion as, 46; locational vs. personal, 87; as malleable term, 25–26, 125; misguided use of, 5; mobility and, 13, 25–33, 37–38, 233, 238; rejection of “foreign,” 109

Ionic order, 94, 95, 96, 97, 224, 225

Isabella d’Este, 226

Iser, Wolfgang, 101

Islamic culture, 109, 168, 169, 172

Italian Renaissance. See Renaissance

Jacobus Publicius, The Art of Memory, 41

Jacopo da Foresti, “Padoua citta preclarissima,” 98–99, 99

Jacopo de’ Barbari (Barberino Veneziano), 162, 164

Jacopo della Quercia, 102, 106, 139

Jacopo di Casentino, 65, 73, 78, 84

Jacopo Filippo Foresti da Bergamo, Supplementum chronicarum, 168–69

Jerusalem, 106

Jesi: architecture, 22, 22, 23; Lotto and, 11, 12, 19, 21–23

Joanna of Austria, 69, 84

John of Pian di Carpini, 131

journey. See mobility

Julius II, Pope, 129

Julius Firmicus Maternus, Mathesis, 26–27

Justus of Ghent, 109

Kaufmann, Thomas DaCosta, 3

Kliemann, Julian, 228

knowledge, 41, 49; from mobility, 109, 186, 192–93, 195, 203, 210–11

Kris, Ernst, 64

Kritias, 183

Kurz, Otto, 64

labor (travail), 74–76

Lafréry, Antoine, 111; Speculum romanae magnificentiae, 148

Lamo, Pietro, Graticola di Bologna, 189

Landino, Cristoforo, 55, 69, 74, 84

landscape painting, 13, 16

language: “code-switching,” 214; figurative, 4, 5; of negation, 42–43; regional dialects, 238; translation, 132; vernaculars, 132, 134, 165

Lanzi, Luigi, 206, 240

Laocoön group, 18, 200

Laudivio Zacchia de Vezzano, 168; Lettere del gran Mahumeto imperadore de’ Turchi, 168, 168

Lefebvre, Henri, 163

leisure activity. See recreation

Lenzoni, Carlo, 52

Leo X, Pope, 42, 45, 92, 171, 190

Leo Africanus, 61, 134; Battle of Anghiari cartoon, 128; Descrizione dell’Africa, 44–45

Leonardo da Vinci, 3, 12, 126, 131, 132, 190, 192, 201, 225; on artistic invention, 111; cartoons by, 128; Last Supper, 155–56, 206, 207; and Michelangelo’s Last Judgment, 204; and oil technique, 111; on proper depiction of hair, 224; on supremacy of sight over hearing, 225

Leoni, Francesco, 218

Leoni, Leone, portrait medal of Michelangelo, 140–41, 140

Leopold William, Archduke of Austria, art collection of, 238–39, 239, 240

Lionardi, Alessandro, Dialoghi dell’invenzione poetica, 83, 84

Lippi, Filippino, 116–20, 152; Bracket Supporting Marine Creatures Sustaining a Tablet, 116; Saint Philip Driving the Dragon from the Temple, 119, 120; Saint Thomas of Aquinas Confounding the Heretics, 118; Strozzi Chapel frescoes, 118, 119, 119, 152

Lippi, Fra Filippo, 109, 116, 171, 192

Lipsius, Justus, De ratione cum fructu peregrinandi, 233

Lives (Vasari), 5, 30–51, 32, 125–60, 162, 238; Barocchi authoritative edition, 34; deluge metaphor and, 54–55; editions, 1550

and 1568, 30–31, 33–34, 52–53, 60, 132, 139, 165; geographic scope of, 83, 176; index of place-names, 81, 82, 83, 135; other contemporary publications and, 52; preface (Proemio delle Vite), 39–53, 54, 69, 83, 86, 106, 171; Roman numerals in, 50, 52–53, 55; significance of, 39; temporal scheme of, 41–43; Title Page, 31, 164; as travelogue, 33–37

Lobelius, Matthias, Kruydtboeck, 96, 96

Loh, Maria, 26

Lomazzo, Giovanni Paolo, 27, 190; Idea del tempio della pittura, 180, 190

Lombardo, Tullio, 165

Lombardy, 16, 18–24, 206, 238

Long, Pamela, 109

López de Gómara, Francisco, Historia general de las Indias, 96

Lorenzetti, Ambrogio, 74, 75, 76, 78, 227

Lorenzetti, Pietro, 80

Lotto, Lorenzo, 11–38, 173, 181–94; background/life of, 11–12, 13, 181, 184; coloring and, 181, 182, 183, 184; geographic license and, 18–21, 23–24, 25, 38; mobility of, 6, 11–25, 30, 162; regional style and, 6, 12, 37; site specificity and, 18–19, 22–23, 38; stylistic modulations of, 6, 12–24, 38; works: Colleoni Martinengo altarpiece, 16–17, 17, 18; Entombment panel, 21; Libro di spese diverse, 11; The Penitent St. Jerome, 16; Portrait of a Young Man, 182; St. Antoninus altarpiece, 23–24, 25; St. Jerome in the Wilderness, 13, 14, 16; St. Lucy altarpiece, 19, 19, 21; St. Lucy at the Tomb of St. Agatha, 23, 24; St. Lucy before Paschasius and St. Lucy Harnessed to Oxen, 22; St. Nicholas in Glory with Sts. John the Baptist and Lucy, 19, 20, 21, 181, 182, 183; The Stoning of St. Stephen, 18, 18; Teams of Oxen, 22

Louis XIII, style of, 30

Lucca, 45, 55, 116

Luchetto da Genova, 206

Lucian, 75

Lucretius, De Rerum Natura, 44

Luzzo, Lorenzo (Morto da Feltro), 90

Lysippus, 131

Machiavelli, Niccolò, 84, 132; L’arte della guerra, 65

Maginnis, Hayden, 64

mal’aria, 43, 141, 142, 241

Malatesta, Pandolfo, 141

Malipiero, Domenico, 168

Malvasia, Carlo Cesare, Felsina pittrice, 238

Mandelli, Giovanni, 193

Manetti, Giannozzo, 90, 94, 132

maniera. See style

maniera all’antica. See antiquities

maniera greca. See Byzantine style

maniera moderna. See modern style

maniera tedesca. See Gothic style

Mannerism, 18, 208

Mansueti, Giovanni, 186; St. Mark Healing St. Anianas in Alexandria, 187

Mantegazza, Antonio and Cristoforo, Certosa di Pavia façade, 93

Mantegna, Andrea, 135, 230; Triumphs of Caesar, 174

Mantua, 12, 78, 211, 217, 218, 222; Titian and, 171, 173–74, 176; Zuccaro and, 219, 228, 230

Marche, 7, 12, 16, 24, 30, 181

Marco da Pino, 189

Margaritone d’Arezzo, 62, 67, 69, 76, 84

Margherita of Savoy, 228

Marguerite de Navarre, Les Prisons, 112

Maria Maddalena of Austria, 226

Marliani, Bartolomeo: Liber urbis Romae topographia, 194; Topographia antiquae Romae, 148

Marrelli, Michelangelo, 111

Martini, Francesco di Giorgio. See Francesco di Giorgio Martini

Martini, Simone, 78

martyrdom modello, 152, 152, 153

Martyrs, Confraternity of the, 151–52, 152

Masaccio, 83, 87, 89, 129, 141, 176; Carmine Chapel frescoes, 47, 80, 151; Life of Peter fresco cycle, 47; St. Paul, 151; universal style and, 103

Masolino, 141

Matthias Corvinus, King of Hungary, 108

Maturino da Firenze, 128, 160, 195; fresco, Palazzo Ricci, Rome, 198

MCCL (1250), significance of, 50, 52–53, 55

Méaulle, F., “Les chaines de l’ancien port de Pise et la statue de Jean de Pise au Campo Santo,” 58, 59

Mechel, Christian von, La Salle Italienne, Trosième Salle, 239

Medici, Cosimo I de’, 39, 52, 55, 66, 67, 83, 166, 218, 234

Medici, Cosimo II de’, 226

Medici, Ferdinando de’, 53, 69

Medici, Francesco de’, 150

Medici, Lorenzo de’, 171–72

Medici, Lorenzo di Pierfrancesco de’, 131

Medici, Marie de’, 226

Medici, Piero di Cosimo de’, 3

Medici family, 30, 52, 67, 100, 109, 172; expulsion from Florence of, 138; sculpture garden, 141

medieval period, 2, 41, 84; art of, 191–92; Vasari’s depiction of, 41

Mediterranean Sea, 39–40, 40

Mehmet II, Sultan, 105, 108–9, 168–69; portrait medal, 169, 186

Meliore di Jacopo, Christ in Judgment, 48, 48

Melli, Domenico, 69

Memling, Hans, 32, 33, 109

memory, 214, 241; mobility as threat to, 40–41, 106; topical organization as aid to, 41, 41

Mertens, Franz, 30

mescolare, 48, 133–34

Michelangelo, 5, 30, 33, 126, 87, 136–43, 150, 176, 177, 213, 214, 225, 228, 230; aria usage by, 45, 141; celestial source of genius of, 139, 143, 227; death in Rome of, 234; as divine, 162; Dolce’s view of, 185; effect on other artists of, 35, 36; fantocci and, 192; on Flemish painting, 206; Florentine homeland of, 139, 190, 234; hazards of imitating style of, 201; Leone portrait medal of, 140–41, 141; mobility and, 125, 138–39, 140, 144; modern style and, 102; nudes and, 15–16, 18, 130, 201–2, 201; oil technique prejudice of, 180; patrons of, 138; Pauline Chapel and, 166; Raphael and, 128, 129, 135–36, 203; return of body from Rome to Florence, 234; in Rome (see under Rome); Sebastiano and, 179–80, 179, 181; supremacy of, 113, 126, 137, 139, 192; varietà and, 136–41, 185; wet nurse of, 145; working model, 204; works: Battle of Cascina cartoon, 128, 129, 129, 152, 153; Erythrean Sibyl, 15; Expulsion from the Garden, 36; Last Judgment, 177, 180, 201, 201, 204, 205, 219; A Male Nude Seen from Behind, 201; Pietà, 138; The Risen Lazarus, Supported by Two Figures, 179–80, 179; St. Bartholomew from The Last Judgment, 48–49, 48; Sistine Chapel frescoes, 36, 129, 135–37, 139, 166, 204; Sleeping Cupid, 138; Studies for the Last Judgment, 137, 137

Michel de Certeau, 163

Michelet, Jules, 2, 3

Michelozzo di Bartolomeo, 106; Pazzi Chapel design (attrib.), 97

Michiel, Marcantonio, 161–62, 167; Agri et urbis Bergomatis, 162; Notizie del disegno, 162; Vite de’ pittori e scultori moderni, 162

Michieli, Andrea, 109

middle path. See modo mezzano

Milan, 18, 68, 83, 86, 156, 173, 190, 213, 219; copies of classical style and, 200; diplomatic ciphers and, 72; Gothic style and, 45; Leonardo’s Last Supper and, 206, 207

Milanesi, Gaetano, 64

Milizia, Francesco, Dizionario delle belle arti del disegno, 27

Mixtec Codex Vindobonensis Mexicanus I, 120

mobility, 1–7, 75, 80, 86, 202–15, 217, 234; Accademia di San Luca and, 234–35, 238; as aesthetic experience, 36, 233, 234; alienation resulting from, 211; allegorical (see allegorical mobility); ambivalence toward, 176; area-specific anecdotes and, 204; aria and, 44–46, 141–43; artist as ornament and, 171–73; artistic centers and, 7, 162–63; artistic decline from, 34; as artistic necessity, 192; artistic reasons for, 83–84, 202, 206, 208–9, 235, 236; artist’s reception and, 7, 74–75; astrological influence and, 87; author guides and, 193; beyond Italy, 106, 108, 109, 110–11, 168–69, 202–3, 206; biography interwoven with, 132–33; characterizations/connotations of, 2–3; to city, 64–65, 80, 121; contamination and, 4, 46–49, 125; definition of, 2; disorientation/displacement from, 1, 7, 22, 34–37, 74, 193, 211, 219; eyewitness accounts of, 6, 156–57, 190, 200, 201, 203–34; fame from, 69–72, 73, 74, 75, 80, 84, 108; favored targets of, 87; foreign interactions and, 46–48, 54, 55, 106, 108, 109, 186, 203–7, 210; guidebooks and, 148; hardship and pain of, 74–76, 139, 220, 221, 227; historical origins of, 2; influence and, 13, 25–33, 37–38, 233, 238; intricacy and networks of, 27, 28–29, 30; inventions facilitating, 27; knowledge acquired through, 109, 186, 192–93, 195, 203, 210–11; as locus of meaning, 55; memory loss from, 40–41, 106; for patronage, 139, 171, 212–14; physical labor of, 157–58, 160, 173; as pilgrimage, 2, 133; political impetus for, 213; psychological effects of, 211, 216–20; purposeful vs. wandering, 212–13; as recreation, 6, 217, 218, 219, 221–25, 230–31, 233, 234; selfhood and, 38, 72–74, 80, 156, 225; self-sufficiency and, 139, 144; as sensory experience, 6, 204, 222–23, 225–27, 233; social standing and, 72–74; standardization and control of, 234–41; style linked with (see style); topography and, 111, 173; varietà as bridge between style and, 125–60, 161, 185–86, 187, 235; virtual, 81, 120, 231; war’s impact on, 12, 133, 211–12, 213

modern style (maniera moderna), 86, 87, 102, 141, 142, 151, 172, 218; dissemination of, 78, 80, 81; varietà spectrum and, 125

modo mezzano, 227; meaning of, 132–33, 135

Monciatti, Alessio, 63

Montagna, 86

Morigia, P. Paolo, Nobilità di Milano, 189

Morto da Feltro (Lorenzo Luzzo), 90

mountains, as metaphors, 113

Mundy, James, 228

Muziano, Girolamo, 235

Muzio, Girolamo, 211

Myron, 131

Nagel, Alexander, 12

Naples, 12, 32, 33, 83, 102, 106, 128, 189, 217, 218; art patronage and, 161; Giotto and, 69, 72; oil technique and, 109; Triumphal Arch, 106, 107, 108, 108; war displacement from, 213

Narni, Erasmo da, 98, 98

natural history, 83, 95–96, 141, 142, 143; varietà and, 131, 132

Navagero, 171, 172, 176

Navicella mosaic (Rome), 68, 69

nemo propheta in patria trope, 75

Neoplatonic thought, 112

Nesteros, Abba, 41

New World. See Americas

Niccolò d’Arezzo, 83–84, 86, 87, 88–89, 97, 102

Nobili, Durante, 30

northern Italy: artistic mobility and, 12; central Italian style vs., 181; coloring and, 206, 207, 208, 214; merits of artists of, 190; oil technique and, 155–56; Vasari on, 218; Zuccaro travel in, 219, 221–22, 227

nudes, 15–16, 18, 36, 130–31, 136, 180, 206; study of, 201–2

Oderisio, Roberto d’, Saint John the Evangelist and Mary Magdalene, 76, 77

Odoni, Andrea, 182

oil technique, 155–56; lighting effects, 203; Lotto and, 181, 182; MCCL as advent of, 53; Raphael and, 111, 183; and gender, 180; Titian and, 173, 203; transfer to Italy of, 32–33, 109–10, 110, 183; Venice and, 13, 110, 180

orders. See architectural orders

ordine, 113, 115, 126

ornament, artist as, 171–73

Ostrogoths, 191

otherness, 49, 186

Ottaviano da Faenza, 76

Ottoman Turks, 105, 186; images and, 168, 169; Venetian contacts with, 72, 108–9, 168–69, 186. See also Constantinople

Oviedo, Gonzalez Ferdinando d’, Della naturale e generale istoria dell’Indie, 131–32, 134

Padua, 30, 61–62, 68, 69, 97–104, 172, 173, 189, 217, 227, 238; artistic and urban milieu of, 98; Gothic style and, 45; metalwork expertise, 101, 101

Palazzo Bartolini (Florence), 150–51

Palazzo Como (Naples), 106, 107

Palazzo della Signoria (Jesi), 22, 22, 23, 23

Palazzo del Podestà (Florence), 68

Palazzo del Poggio Reale (Naples), 106

Palazzo Doria del Principe (Genoa), 145, 153, 154, 155

Palazzo Ducale (Venice). See Sala del Maggior Consiglio

Palazzo Mattei frescoes (Rome), 219

Palazzo Medici (Florence), 114

Palazzo Medici (Rome), 200

Palazzo Ricci frescoes (Rome), 198

Palazzo Vecchio (Florence), 53, 73, 160; Sala della Signoria, 128; Salone del Cinquecento, 152, 226; Vasari fresco, 94, 94

Palazzo Zuccari (Rome), 220–21, 222

Palladio, 94, 200

Palma Vecchio, 182, 186

Palmieri, 49, 84

Panofsky, Erwin, 25–26, 61, 131

Pantheon (Rome), 148

Paolo da Certaldo, 145

Papal Palace. See Vatican

Papal States, 7, 16, 161, 177

Paracelsus, 109

Parmigianino, 203, 206, 212

Passaggio per Italia, Il. See Zuccaro, Federico

Passignani, Domenico, 231

pastoral genre, 65, 66

patria, 121, 139, 161, 176; artist as ornament and, 171–73; artist reciprocity with, 83, 84, 102; connotation’s of, 83; severed ties with, 84

patronage, 6, 75, 138, 161, 166; importance of, 139; mobility and, 171, 214; oil technique and, 109; Ottoman, 109, 168, 169; Titian and, 173–74

Paul II, Pope, 104, 105

Paul III, Pope, 177

Paul IV, Pope, 214

Pavia, 101, 219; Certosa façade, 92, 93, 97

Payne, Alina, 6, 50

Pazzi Chapel (Florence), 97, 97

Pèlerin, Jean : “Carret a Pelegrina,” 111–12, 112; De artificiali perspectiva, 111–12

Perino del Vaga, 5, 7, 116, 125, 128, 135, 143–57, 195, 204, 235; honor’s and, 150; humble origin’s of, 144–45; linguistic “code-switching” and, 214; personal style of, 152–53; return to Florence of, 148, 150–51; Roman style and, 151, 211; self-sufficiency of, 145; varietà and, 144, 148, 151–52, 153, 155, 156–57; works: Grotesques with Nude Figures, 145, 146–47; La Loggia degli Eroi, 153, 154, 155; Martyrdom of the Ten Thousand, 151–52, 152, 156, 157; The Shipwreck of Aeneas: Neptune Saving Aeneas and His Crew, 155, 155; The Sun Stands Still (attrib.), 152, 153; Tarquinius Priscus and the Augur Attius, 148, 149

perspective, 87, 111, 203, 208–10, 220, 235

Perugia, 104, 120, 126, 127, 128, 134

Perugino, Pietro, 30, 86, 106, 111, 126, 128, 218; Crucifixion with the Virgin and Sts. Mary, Magdalene, Bernard, John the Baptist, and Benedict, 207, 207

Peruzzi, Baldassare, 209, 212

Pesaro, 200, 217

Petrarch, 43, 74, 75, 111, 139; Canzone, 73; Familiares, 74; Invective against a Detractor of Italy, 42; Itinerarium ad sepulcrum domini nostri Yehsu Christi, 193; Sonnet 151, 2

Petrus Christus, 109, 161

Picasso, Pablo, 26; Guernica, 30

pictura poesis, 172

Piedmont, 219, 221, 226–27, 228

Pierino da Vinci, 192

Piero della Francesca, 128

Piero del Massaio, “Roma,” 88

Piero de Pucci, 114

Piero di Cosimo, 89

Pietro Cavallini Romano, 76

Pietro del Donzello, 106

Pieve di Cadore, 12

Pigage, Nicolas de, 238, 239

Piles, Roger de, Abrégé de la vie des peintres, 238

pilgrimage, 2, 11, 99, 133, 186; allegorical, 7, 14, 111–14, 140–41, 141, 214, 220; community formation and, 204; religious, 211, 222, 241

Pino, Paolo, 13, 27, 131, 184; Dialogo della pittura, 162

Pinturicchio, 120–21, 128

Piombo. See Sebastiano del Piombo Pisa, 55, 58, 62, 69, 75, 78; Gozzoli’s twenty-four frescoes, 114, 115

Pisa Baptistery, 114; Main Portal, 245, 246

Pisa Cathedral mosaics, 58, 63

Pisanello, 101, 128, 167

Pisano, Andrea, 73, 75, 139

Pisano, Nicola, 139

Pius II, Pope, Commentarii, 173

Pizzolo, Niccolò, 101

place: aria and, 44–46, 141, 143; art associated with, 44; artist as ornament of, 171–73; artistic techniques linked with, 183, 240; artwork suited to, 210–14; differences of, 36, 38, 210; history in relation to, 83; influence and, 26; memorization of names, 41; mobility tensions with, 156–57, 189; painting cycles and, 166; regional dialects and, 238; regional patriotism and, 189–90; style intersection with, 6, 7, 12, 34–37, 38, 62, 86–87, 102, 155, 156, 168, 210–14, 235, 238, 239–40; table of names, 81, 82, 83, 135; varietà and, 131, 140, 156; visual representations of, 61, 62, 185, 186. See also patria

plague, 45, 141, 148

Plato, 46, 74; Symposium, 214

Plazzotta, Carol, 126

Pliny, 40, 70, 83

Pliny the Elder, 106; Naturalis Historia, 131

Plutarch, On the Education of Children (attrib.), 49

Podesti, Francesco, Francis I in the Studio of Benvenuto Cellini, 217, 217

Poggio, 67

Polidoro da Caravaggio, 12, 152, 160, 190, 195, 213, 214, 219, 235; Palazzo Ricci frescoes, 198, 198, 201, 235; as refugee from sack of Rome, 212, 213

pollution. See contamination

Polo, Marco, 203; Merveilles du monde, 131

Polo de Antonio da Raguxi (Ragusa), 101

Polyclitus, 131

Pontormo, Jacopo da, 128, 135, 207, 226; Christ before Pilate, 135, 136; Study for “Deluge with the Benediction of the Seed of Noah” (attrib.), 208; Victory and Battle of the Ten Thousand Martyrs, 152

Ponzio, 213, 214

Porcacchi, Tomasso, L’isole piu famose del mondo, 171

Pordenone, 12, 108, 172, 225

portraiture, 66

Posthumus, Herman, Landscape with Roman Ruins, 88, 89

Prato, 102

Precepts. See Armenini, Giovanni Battista

prima maniera, 115

Primaticcio, 238

printing press, 2, 210

proportion, 190

Protogenes, 84, 203

Ptolemy: Cosmographia, 88; Tetrabiblos 48, 87

Pucci, Lorenzo, 148

puppets (fantocci) and primitive style, 192

purging, 53, 80

Pythagoras, 74

Quattrocento, 167

Quintilian, 46, 49, 63, 74, 131; Institutio Oratoria, 131, 132

Quirinal (Rome), 199

Rabelais, 194

Raffaello da Urbino, 35, 36

Raimondi, Marcantonio, 135; Plague in Crete (after Raphael design), 141, 141

Ramusio, Giovanni Battista, 119; Navigazioni e viaggi, 2, 44, 134

Raphael, 3, 5, 12, 25, 30, 116, 125–36, 195, 204, 218; allegorical mobility and, 132, 140–41, 143, 227; astrological influence on style of, 190; on Barbarian destruction of Rome, 42, 45; coloring and, 179, 203, 235; diverse workshop of, 155; formation as painter of, 126, 128–30; Fra Bartolommeo and, 143, 144; letter to Pope Leo X by, 42, 45, 92, 190; maternal breastfeeding of, 145; mobility of, 12, 15, 126, 128, 129–30, 134, 139, 143, 144, 162, 203, 235; modo mezzano and, 132–33, 135, 227; oil technique and, 111, 183; perspective and, 209; proportion and, 190; Rome and (see under Rome); Rosso compared with, 36; Sebastiano restoration of Vatican frescoes of, 177, 178; style development of, 126–30, 132–36, 139, 235; varietà and, 125, 126, 130–36, 161, 185; works: Galatea, 131; Loves of Psyche, 213; Mond Crucifixion, 126; Prophet Isaiah, 124, 130; St. Cecilia altarpiece, 135; St. Jerome with a View of Perugia, 126, 127; School of Athens, 15, 235; Sea Victory at Ostia, 152; Sibyls, 10, 36, 37, 135; Sistine Madonna, 23; Stanza della Segnatura frescoes, 129, 166; Stanza dell’Incendio di Borgo: Fire in the Borgo, 16, 136, 137, 166; Villa Farnesina frescoes, 219; The Vision of Ezekiel, 134, 135

Ravenna, 52, 68, 190, 200, 206

recreation (ricreazione), 6, 217, 218, 219, 221–25, 230–31, 233, 234

regional style. See place

regola, 113, 115, 126

Reinhardt, Ad, 30

Reisezeichnungen (travel drawings), 228

Renaissance: Dark Ages preceding, 41; diagram of, 27, 28–29, 30, 30; and first crest of style, 27; Florence seen as cradle of, 69; patronage and, 139; purpose of education and, 49; Quattrocento and, 167; Trecento and, 54; “universal man” of, 165

Reni, Guido, 238

repatriation, 7, 80, 86, 108, 150, 234; rewards of, 75, 217

Resta, Padre Sebastiano, 110; Aggiunta e supplement al Correggio in Roma, 32–33, 32

rhetoric, 46, 132

Rhodes, 74, 84, 203, 210–11

Riccobaldo da Ferrara, 69

Ridolfi, Carlo, 184

Ripa, Cesare, 198, 218, 230; Iconologia, 73

Robert, King of Naples, 72, 73

Rocchetti, Marc Antonio, 210

Roman arches, 199, 225

Roman numerals and significance of typography, 50, 52–53

Romano, Giulio. See Giulio Romano

Rome, 30, 106, 173, 194–202, 209, 222; Accademia di San Luca, 234–35, 236–37, 238; antiquities of, 15, 18, 40, 88, 90, 92, 97, 116, 119, 138, 150, 160, 176, 177, 190, 194, 195, 198–200, 203, 204, 219; aria (air) of, 44, 46, 53, 133, 141–43, 179; Armenini and, 190, 194–202, 211, 213–15, 227, 238; artist-as-voyager and, 111; as artistic center, 194, 204, 211, 212–13, 217, 218; artistic competition in, 204, 220; artistic superiority of, 161; artists’ travel to, 75, 87–88, 104, 116, 118, 141, 142–43, 176–77, 194–205, 211, 214; Brunelleschi and, 89–97, 100, 116, 121, 138, 178, 194; contradictory traditions/perceptions of, 87–88; copies of works in, 200; displacement from, 211–13; Donatello and, 89, 90, 92, 102, 128, 138, 178, 194; façades of, 195, 198, 213, 214, 219, 235; Florence contrasted with, 36–37, 151, 153; Fra Bartolommeo’s dislike of, 142–43; Giotto and, 68, 69, 78; guidebooks to, 92, 148, 194–95; Lotto and, 7, 13–14, 16, 16, 18, 24; mal’aria of, 142; map of, 195, 196–97; Michelangelo and, 35, 36, 129, 135–36, 138, 139, 142, 143, 153, 227, 234; Perino and, 145, 146–48, 151, 153, 211; pillage of (see Barbarian invasions; sack of Rome); plague (1523), 148; provincial style vs., 213; Raphael and, 12, 15, 92, 126, 129–30, 134, 135–36, 142, 143, 161, 203, 219, 235; reception of visitors to, 75; Rosso’s failure in, 34–38; Sebastiano and, 12, 177, 178, 179, 181; statuary of, 199–200; study in, 195, 198, 200–201, 211, 219, 234–35, 236–37, 238; stylistic modes of, 151, 152, 153, 210, 211, 213, 227, 235; Vasari commissions, 157. See also Vatican; specific landmarks

Rossellino, Antonio, 106

Rossellino, Bernardo, Pazzi Chapel, 97

Rossi, Aldo, 34

Rossi, Bernardo de’, 24

Rosso Fiorentino, 27, 34–37, 38, 128, 135, 143, 201, 211; The Creation of Eve, 35, 35, 36, 38; Deposition from the Cross, 36; The Fall of Man, 35, 35, 36, 38; Rebecca and Eliezer at the Well, 36

Rovere, Giovanna Feltria della, 128

Rubens, Peter Paul, 240

Rubin, Patricia, 64, 65

Rucellai, Annibale, 192

ruins. See antiquities

rule (regola), 113, 115, 126

Ruscelli, Girolamo, Precetti della militia modern, 190

Rusticello, Il milione, 203

Sabatelli, Giuseppe, Cimabue and Giotto as a Child, 64

Sacchetti, Franco, 74–75

sack of Rome (1527), 12, 43, 55; aria of, 45; destructive cultural impact of, 177–78; effect on mobility of, 12, 133, 211–12, 213

sacks of Rome (410, 455, 456, 546). See Barbarian invasions

Sadeler, Aegidius, II, print of Titian’s Titus Vespasian, 174, 175, 176

Sagrega, Guillermo, Triumphal Arch of Alfonso I of Naples, 106, 107, 108

St. Augustine, 89–90, 90

St. Lucy, confraternity of (Jesi), 19, 21

St. Peter’s Basilica, 70, 129–30, 133. See also Sistine Chapel

St. Peter the Martyr, altar of, 164, 165

St. Petronius, façade reliefs, 139

St. Thomas Aquinas, 15, 42, 90, 118, 164, 216

Sala del Maggior Consiglio (Great Council Hall, Venice), 75, 166, 167–68, 167, 169, 170, 171, 188, 228, 229

Salviati, Francesco, 24, 213, 214

Sangallo, Antonio da, 67, 133

Sangallo, Antonio da, the Younger, 36

San Gallo, Bastiano (Aristotile), 128; Copy after Michelangelo’s Cartoon “Battle of Cascina,” 129, 129

Sangallo, Giuliano da, 67; “Pulley, Structural Details,” Codex Barberiano, 90, 91

San Gimignano, 87, 133, 141, 142, 143

San Giovanni Evangelista (Brescia), Moretto altarpiece, 23

San Giovanni Evangelista (Ravenna), Giotto frescoes, 68

San Marco (Venice), 72, 141; bronze horses façade, 101; Byzantine art, 167; repairs to, 21–22, 52

Sanmicheli, Michele, 13

San Miniato al Monte (Florence), 63

Sannazaro, Jacopo, Arcadia, 66

Sansoni (publisher), 35

Sansovino, Andrea, Pallazzo della Signoria, 22, 22, 23

Sansovino, Francesco, 12; Delle cose notabili che sono in Venetia, 171, 189; Dell’historia vniversale dell’origine et imperio de tvrchi, 169; Dialogo di tutte le cose notabili e belle che sono in Venetia, 165–68, 166; Venetia città nobilissima et singolare descritta, 169, 171, 189

Sansovino, Jacopo, 128, 211–12, 213

Santa Chiara fresco cycle (Naples), 72

Santa Croce (Florence): Cimabue and, 68, 69;

Donatello and, 68, 100, 103; Pazzi Chapel design, 96, 97

Sant’Agostino (Rome), Raphael fresco, 129, 130

Santa Maria del Carmine (Florence): Brancacci Chapel, 47, 47, 141; Chapel of Jerome fresco cycles, 74; Lotto altarpiece, 181; Masaccio frescoes, 47, 80, 141, 151; Masolino scenes of St. Peter’s life, 141

Santa Maria della Pace (Rome): Cesi Chapel frescoes, 26, 34, 35, 35, 36, 38; Chigi Chapel frescoes, 10, 36, 37, 135

Santa Maria Maddalena de’ Pazzi (Florence), 207, 207

Santa Maria Maggiore (Rome), 12, 43; mosaic façade, 63, 63

Santa Maria Novella (Florence), 55, 64; Strozzi Chapel, 118, 119, 119, 120, 152

Santa Maria Nuova (Florence), 111

Santa Maria Sopra Minerva, Carafa Chapel (Rome), 118

Sant’Angelo, Francesco Il, 219, 220

Sant’Antonio Basilica. See Santo

Santi, Giovanni (Raphael’s father), 126

Santi Giovanni e Paolo (Venice), 164, 165, 169, 182; Lotto altarpiece, 23, 25; Lotto burial in cemetery of, 11

Santissima Annunziata (Florence), 3

Santo (Padua): Bellano bronze relief, 105–6, 105; Donatello altar, 98, 99, 101, 102, 102, 103

Sanudo, Marin, 167, 168

Sarto, Andrea del, 35, 36, 128, 133, 143, 226

Sauli, Bandinello, Cardinal, 3, 4

Savonarola, Michele, Libellus de magnifics ornamentis regie civitatis Padue, 98, 99

Savoy court, 224, 226, 227–28, 230; coiffure at, 222, 223

Saxl, Fritz, 25–26

sbandire (expulsion), 66

Scalza, Michele, 49

Scardeone, Bernardino, Historiae urbis Patavii, 98, 98, 99, 100, 100, 104, 189

Scarpaccia, Vittore, 86–87

Schlosser, Julius von, 33–34, 67

Schmitt, Carl, 1

scientific knowledge, 95–96, 111

Scipione Africanus, 75

Scolari, Filippo Spano de gli, 108

Scorel, Jan van, 182

sculpture, 86; Donatello and, 100–106, 178; Michelangelo and, 139, 228; relief, 87; Roman antiquity, 199–200, 219. See also equestrian statuary

Sebastiano del Piombo, 3, 18, 142, 173, 177, 178–81, 184, 195; Dolce’s view of imitative work of, 180–81, 227; mobility of, 6, 12, 162–63, 178–79, 181, 211; musical talent of, 225; restoration of Raphael frescoes by, 177, 178;

works Cardinal Bandinello Sauli, His Secretary, and Two Geographers, 3, 4, 5; The Raising of Lazarus, 179, 179, 180

seconda maniera. See modern style

Seisenegger, Jakob, 173; Portrait of Emperor Charles V, 174

selfhood, 38, 42, 72–74, 80, 156, 225

self-sufficiency, 144

Semper, Gottfried, Der Stil, 27

Seneca, 75

senses, 6, 7, 204, 222–23, 225–27, 233

Serlio, Sebastiano, 27, 94, 210; “Scena Comica,” 84, 86

Shearman, John, 128

Sideri, Giorgio (Calopodio da Candia), Nautical Map of the Center East Mediterranean, the Black Sea and the Sea of Azov, 40

Sidney, Philip, 98

Siena, 69, 75, 83, 203, 207, 227; Baptistery, 102; Cathedral, 128, 209, 210; Giotto disciples in, 78

sight. See vision

Signorelli, Luca, 6, 106, 120, 128; “Apocalypse” fresco, 121

Simone del Pollaiuolo (Il Cronaca), 150

Simone Sanese, 76

Siraisi, Nancy, 44

Sistine Chapel, 36, 129, 135–37, 139, 145, 166, 192; communitas gathered in, 204; Last Judgment, 177, 180, 201, 204, 205; varietà of frescoes, 114, 136–37

site specificity, 18–19, 21–23, 25, 38

smell, sense of, 225

Sobborgo Sant’Angelo (Perugia), 126, 127

Sohm, Philip, 6, 35, 207

Sorte, Cristoforo, Osservazioni nella pittura, 192

space, 151

Spain, 73–74, 106, 108, 212, 213, 238

Spear, Richard, 6

Spinelli, Parri, 83

Spinello Aretino, 65, 73, 78, 84, 114, 171, 183

spiritual journey. See pilgrimage

Spitzer, Leo, 43 spogliata/spogliare ornamenti, 172

Spoleto, 116, 171–72

Starnina, Gherardo, 73–74

Statius, 75

Stefano Fiorentino, 76

Stoics, 112

Strabo, Geography, 177

Strozzi Chapel (Florence), Filippino Lippi frescoes, 118, 119, 119, 120, 152

style, 5, 18, 126, 161–215; arbiter of, 210; aria relationship with, 43–46, 53, 143; artistic subjectivity and, 225; astrological influence on, 190, 227; center and periphery and, 65–66; classification by place, 86–87 (see also place); cleansing of, 5; confrontations and, 156; corruption of, 4, 5, 46–49, 134, 214; dialectic of, 18–25, 38; difference and, 35–37, 38, 61–62, 151–52, 155, 156, 178, 210–11; diffusion of, 44, 79, 80, 92, 151, 210, 212, 218, 227; dissemination of, 76–80, 81, 162; ethnicity and, 50, 58, 153, 181, 239–40; Florentine focus on, 80, 87; gender and, 180; geographic license and, 18–21, 23–24, 25, 38; imitation of, 103–4, 105, 135; influence and, 26, 33, 46; mobility’s effects on, 3–5, 12–16, 24–25, 27, 34, 44, 76–80, 81, 84, 86, 92, 132, 139, 151–210, 214, 227, 233, 234, 238, 239, 240–41; modo mezzano, 132–33, 135, 227; mutation of, 135; as organic, 80; origins and, 7, 178; personal differences and, 36; place intersection with, 7, 34–37, 38, 210–14; regional variants of, 6, 12, 155, 178, 210–14, 235, 238–39; significance of year MCCL to, 50, 52–53; site specificity and, 18–19, 21–23; speed and excess and, 208; as spiritual journey, 111–14; study of models of, 204; subject matter elided with, 131; temporality and, 36, 38, 49–53, 103; terza maniera qualities, 113; varietà as bridge betwwen mobility and, 121, 161; Vasari’s lexicon of terms, 46

Süleyman the Magnificent, Sultan, 186

Summonte, Pietro, 161–62

Suriano, Francesco, 168

Sylvester, Pope, 43

Tacca, Pietro, 226

Tacitus, 42; Germania, 42, 49–50

Taddeo. See Gaddi, Taddeo

Taffi, Andrea, 58, 63, 67, 75

Taine, Hippolyte, 240

Tamagni, Vincenzo, 133

taste, 6, 225–27

tempera, 50, 75, 76

temporality, 36, 38, 49–53, 103

Teniers, David II, 238–39; Archduke Leopold Wilhelm (with Teniers’ Self-Portrait among His Works of Art in the Archduke’s Gallery in Brussels), 240

Terence, 165

terza maniera, 113, 176

Theocritus, Idylls, 66

Theodosius, obelisk of, 169

Thevet, André, 43

Tibaldi, Pellegrino, 30, 238

time. See temporality

Tintoretto, Paradise, 166

Titian, 6, 19, 165–76, 178, 182, 218; birthplace of, 173; brushwork and, 182; differenza and, 178; diffusion of fame of, 171, 172, 173; as divine, 162, 184; donna nuda prototype and, 131; as hallmark of Ventian style, 171 (see also Venice); journey to Rome (1545) of, 177; mobility and, 6, 12, 171, 173, 174–77; mosaic training of, 167; new style and, 167, 176, 177; oil technique and, 173, 203; and Sala del Maggior Consiglio, 166, 167–68, 167, 170; varietà of, 185;

works Assumption of the Virgin (Assunta), 23, 176, 182, 185; Battle of Cadore (Battle of Spoleto), 167, 170, 170, 171; Ca’ Pesaro, 182, 186, 188; Charles V and Dog, 173, 174; Danae, 177; St. John the Baptist in the Wilderness, 169; St. Peter the Martyr altarpiece, 23, 164, 170, 182; San Giovanni Elemosinario altarpiece, 23–24, 24; Süleyman the Magnificent portrait, 186; Titus Vespasian, 174, 175, 176; Twelve Caesars series, 173–74

Torrentino, Lorenzo, 33, 65, 165

Torriti, Jacopo, Coronation of the Virgin, 63

Toscanella, Oratio, 132

touch, sense of, 225

Trajan Arch, 199

translation, 132

travail, 74–76; meanings of, 74, 139

travel accounts, 2, 3, 4, 5, 119, 173, 233; aria and, 46–47; artists’ notebooks, 120; difference as key term of, 61; eyewitness, 6, 200, 201, 203–15, 216–33, 234; as memoir, 216, 218–41; mescolare metaphor and, 134; varietà and, 131; Vasari Lives as, 33–37; visualization and, 169; on wisdom gained, 74

traveling artist. See mobility

Treviso, 11, 13, 15, 16, 24

Trexler, Richard, 61

Trinità dei Monti (Rome), 137, 148

Triumphal Arch of Alfonso I of Naples, 106, 107, 108, 108

Tucker, George Hugo, 112

Tullius, 75

Turin, 134, 219, 221–24, 227–31; Zuccaro frescoes, 227–28

Turler, Hieronymus, The Traveiler, 74

Turner, Victor, 204

Tuscan order, 94, 95, 96

Tuscany, 30, 40, 44, 52, 76, 214; aria benefits of, 141; artistic superiority of, 161; Byzantine style and, 47; export of art works from, 106; Fra Bartolommeo travels in, 143; mescolare and, 134; Michelangelo and, 139; Raphael’s travels in, 126, 128, 161; restoration of visual arts and, 50, 53, 54, 55; Vasari’s pride in, 83. See also Florence

Uccello, Paolo, 83, 87

Uguccione da Faggiuola, 69

Ulysses, 74, 95, 112, 211

Umbria, 86, 210

universal style, 103

urban center. See city

Urbano da Cortona, 101

Urbino, 12, 171, 173, 183, 189; classical style copies in, 200; oil technique and, 109; Raphael and, 12, 15, 125, 126

Urbino, Duke of (Guidobaldo da Montelfeltro), 109, 128, 171, 177

Utens, Giusto, View of Il Trebbio, 67

Van der Goes, Hugo, 109

Vandals, 53, 191

Varchi, Benedetto, 61, 72, 139, 177; Perino and, 144–60; Storia fiorentina, 55, 66

varietà, 5, 6, 7, 114–21, 125–60, 162, 185–87, 189; Accademia di San Luca and, 235; allegorical movement and, 227; as benefit of mobility, 125–60, 161, 185–86, 187, 235; central Italy as fountainhead of, 161; decorum and, 186, 187; definition of, 125, 185; difference and, 151–52, 155; Dolce’s praise for, 185; expanded semantic boundaries of, 120–21; Michelangelo and, 136–43, 185; mixing and, 119–20, 134; political implications of, 186; portability of, 153, 155, 156; positive effects of, 235; Raphael and, 125, 126, 130–36, 161, 185; Zuccaro on, 233

varnish, 206

Vasari, Giorgio, 4, 5, 24, 98, 166, 168; Arezzo home of, 69, 157, 158, 159; aria and, 43–46, 53, 80, 133, 141–43; on artistic corruption, 47–49, 50; on artistic greatness, 192; on artists’ appetites, 225–26; Chamber of Fame fresco cycle, 69; contradictions of, 156; Dolce’s Venetian work and, 163; fictive embellishments of, 33; flood metaphor of, 54–55; on Islamic view of images, 168, 169; legacy of, 33–34, 39; on Lorenzo Lotto, 182; modo mezzano and, 132, 133; on oil technique, 109–11; on patria, 83, 102; patriotic tone of, 156; pride in Florence of, 69; return of Michelangelo’s body to Florence and, 234; on senses, 225–26; significant dates and, 50, 52–53; spogliare ornamenti and, 172; on study in Rome, 176, 194, 201; on stylistic concessions, 62–63, 167; on stylistic contamination, 47–48; on stylistic distinctions, 180; stylistic terms lexicon, 46; temporality conception of, 49–53; texture of prose of, 33; on travel as travail, 74–76; on universale, 103; varietà connotations and, 114–21, 125–60, 185

works: autobiography, 218; Brunelleschi and Ghiberti Presenting a Model of San Lorenzo to Cosimo (workshop), 94; Chamber of Fortune, 158, 159; Copy after Perino del Vaga’s Compositional Study for “The Death of the Ten Thousand Martyrs,” 156, 157; Fame, 69, 70; Holy Family with St. Francis in a Landscape, 218, 219; Libro de’disegni, 116, 117; Ragionamenti, 53, 73, 132; The Taking of Siena (and assistants), 157, 157

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