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Description: The Sacred Image in the Age of Art: Titian, Tintoretto, Barocci, El Greco,...
PublisherYale University Press
This book has been a long time in the making. I began research in Rome on a Senior Fulbright Fellowship and a Study Leave from Temple University in 2002–03, and it began to take definitive shape in 2006 when I was granted an NEFI Fellowship and another leave from Temple. I spent an intense summer in the library of the American Academy in Rome and was the last to leave when they closed it for a year of renovation. I was then privileged to spend a term at the Villa I Tatti as a Visiting Scholar on the gracious invitation of Joseph Connors, and held a Senior Visiting Fellowship at CASVA in the winter of 2007. The community of scholars at each of these research institutions stimulated my thinking, and the library staff at each graciously enabled my research. Two stays at the Civitella Ranieri Foundation in Umbria at the invitation of the director, Dana Prescott, where I was a Guest of the Director amid an exhilarating community of artists, visual, verbal, and musical, provided the solitude in a beautiful setting to complete the writing and editing.
The bulk of the editing took place in the fall of 2007 when my seminar read the manuscript chapter by chapter and discussed it. Specific additions made by these students have been cited in the footnotes, and I thank them collectively for their conscientious probing and thoughtful discourse. I especially thank Sarah Barton, who took this seminar by phone from Alaska in an unorthodox but very productive Independent Study, and who has continued to discuss issues with me ever since.
Many scholars and friends have helped me along the way. I am particularly indebted to my readers. Peter Humfrey read the manuscript for Yale and made crucial recommendations that helped me reshape it. Stuart Lingo, whose work on Barocci I greatly admire, has discussed issues with me and given me very helpful readings. I thank my friend, Richard Wertime, who generously read the whole manuscript for me from the point of view of a writer. Larry Silver read Chapter One and assured me that I was not way off base in the foreign terrain north of the Alps.
I would like also to thank these friends for all kinds of help: Tracy Cooper, Thomas Dale, Samuel Edgerton, Frederick Ilchman, Peter Lukehart, Rose May, Thomas Mayer, Anne Muraoka, Alexander Nagel, John O’Malley, Steven Ostrow, Loren Partridge, Maureen Pelta, Dana Prescott, Ingrid Rowland, Patricia Rubin, Guillermo Solana Diez, Sarah Van Anden, Henk Van Os, Ian Verstegen, Suzanne Willever, and Valerie Wunder.
In finding photographs I was assisted by Kira Maye and Liam Schaefer, who went well beyond the requirements of their jobs at Art Resource; by Alexandra Korey in Florence; by Lin Barton; by Laura Paris at the Tyler School of Art of Temple University; by Costanza Barbiéri in Rome; Kurt Behrendt, Jean Cadogan, Lucy Clink, Bonnie Noble, Tamara Smithers, and Jack Wasserman. Laurie Glover at the Clark Art Institute can find any image you ask for, overnight. It would not have been possible to illustrate this book so lavishly without subsidies from The Lila Wallace – Reader’s Digest Publications Grant through the Villa I Tatti, and a grant from the Dean’s Fund and two Grants in Aid from Temple University
Gilles Heno-Coe was my valuable editorial assistant; Michael Gnat, fact-checker and copy-editor par excellence, saved me from quite a few embarrassing errors; Emily Lees created the beautiful layout. Gillian Malpass is a wonderful editor to work with, as everyone knows.
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