| Volltext: | 13 I n d e x Page references to illustrations arc in italic. A Adoration of the Epiphany (da Vinci], 11 Aeneas and Anchises (Bernini), 59 aequalitas vs. similitudo, 31 Action, 45 Agon der Künste (2007), ix Alberti, Leon Battista, 9-10, 30, 69, 87-88, 114П99 Alberti, Michèle degli, 91 Aldus Manutius, 17, 18 Alfarano, Tiberio, 93 Alhazen, 38, 39 Amalthca. See also The Goat Amahhea with the Infant Jupiter and a Satyr (Bernini) in ancient mythology, 59-60 in art, 60, 61-63 in Roman coins and medals, 63-64 as symbol of abundance, 60, 61, 62 Andrea del Castagno, 13 anecdote, characteristic form of, 94-95 angels, doctrine of, in Modello for The Transfiguration of Christ (School of Raphael), 3 The Annunciation (Van Eyck), 24-15 angled wing of, 41-42 as difficulté vaincue, 43-44 and imitation of sculpture in painting choice of, 23-26, 43-44 history of, 26-28 lighting and shadow in, 42 negation of aesthetic boundary in, 30-31 original purpose of, 48 palette, limited, of, 44-45, 47-48 and paragone of painting and sculpture, 28-29, 42-44 reflective black stone in as black touchstone (goldstone), 48-51, 121Ш39 and catoptric theory, 40, 40-41 as foil for reality of image, 42 lines of perspective in, 41-42 sources of concept, 31-32 as trompe-l'oeil, 31, 41-43 Antigonus, Apelles portrait of, 84-87 Apelles anecdote of cobbler and, 94 Michelangelo and, 91 palette and technique of, 32, 44-45 portrait of Antigonus, 84-87 Van Eyck and, 32 Apollo and Daphne (Bernini), 65 Aquila, Pietro, 56 Aretino (Dolce), 5 Aristotle, viii, 17-22, 83, 84, 113П99. See also peripeteia Arnolfini Wedding (Van Eyck), 35, 45 Ars poetica (Horace), viii art theory, history of, and debates on representation, ix Assumption of the Virgin (Pietro Bernini), 56, 57-58 Astrea, 62 Athena Parthenos (Phidias), 46-47, 94 В Bacon, Roger, 37, 39 Badt, Kurt, 17, 18 Baldinucci, Filippo, 55 Baptism of Christ (Van Eyck), 33, 34 Barocchi, Paola, 73, 74 Barocci, Federico, 84 INDEX 139 Barrow, Isaac, 39 The Battle of the Milvian Bridge (Raphael), 19-20 Bellori, Giovanni Pietro, 19 Bernini, Domenico, 53, 55 Bernini, Gian Lorenzo. See also The Goat Amalthea with the Infant Jupiter and a Satyr Aeneas and Anchises, 59 Apollo and Daphne, 65 and painting, engagement with, 59 and paragone of moderns and ancients, ix, 57 precociousness of, 53, 55 Rape of Proserpina, 65 San Lorenzo, 55, 58-59 San Sebastiano, 55 Bernini, Pietro, 53-54, 56, 57-58 Betrayal of Christ (Van Eyck), 36 Bilheres Lagraulas, Jean de, 92 Birth of John the Baptist (Van Eyck), 33-35, 34 black touchstone (goldstone), 48-51 The Blind Spot (Lichtenstein), ix Bolswert, Schelte Adams à, 64-65, 65 Book of Hours of Turin, 33-35, 34 Borghese, Scipione Caffarelli, 53, 54, 62, 63-64 Borghini, Vincenzo, 91 boundary, negation of, in The Annunciation (Van Eyck), 30-31 Braccionlini, Poggio, 95 Bronzino, viii Brunelleschi, Filippo, 38 Bulwer, John, л, 12, 83, 112П72, 113П73 Buonarroti, Leonardo, 76-77 Buonarroti, Michelangelo. See Michelangelo Buonarroti Butades, 71 С Calixtus III (Pope), 8 Campin, Robert, 26, 27 Caravaggio, Michelangelo Merisi da. See also Entombment The Incredulity of Saint Thomas, 103 The Martyrdom of Saint Matthew, 82, 83-84 and picture plane, interest in, 100 self-portraits in work of, 82, 83-84 Carracci, Agostino, 97, 98 Carracci, Annibale, ix, 15, 59 catoptrics calculations, complexity of, 35 principles of, 39, 39-40 reality of mirror image as issue in, 41 in Van Eyck's Annunciation, 40, 40-41 Van Eyck's familiarity with, 33-38, 40 Cavalieri, Giambattista de', 98 Cellini, Benvenuto, viii, 69 Cennini, Cennino, 30, 69, 100 Chirologia (Bulwer), 11, 83, 112П72 Chironomia (Bulwer), 11, 12, 112П72 Cicero, 30, 47, 59, 94 color. See also palette Bernini's evocation of in sculpture, 58, 59 in painting, as illusion, 44 renouncement of, religious regions for, 23, 47 complex action, in Raphael's Transfiguration of Christ, 6 cornucopia, Amalthea's horn as, 60, 61, 62 Cosimo I (Duke of Florence and Tuscany), 63, 67, 76 Council of the Gods (Lanfranco), 55, 55 Crucifixion (Van Eyck), 36-37, 38 D Dance of Salome (Donatello), 77-78 Dante, 38 da Vinci, Leonardo Adoration of the Epiphany, 11 Last Supper, 9, 11, 13 on paragone of poetry and painting, viii, 68 De arte iluminandi, 45 De Magistris, 62 demeanor, as reflection of emotion, 7, 83 difficulté vaincue Bernini's The Goat Amalthea with the Infant Jupiter and a Satyr as, 54, 58-59 as measure of artistic prowess, 59, 76 Michelangelo's Madonna of the Stairs as, 74-76, 79-81 Raphael's Transfiguration of Christ as, 6-7, 8-9 Van Eyck's Annunciation and, 43-44 Dio Chrysostom, 46, 94 Divina commedia (Dante), 38 Dolce, Ludovico, 5 Donatello Dance of Salome, 77-78 Michelangelo's Madonna of the Stairs and, 76-77, 79-81 Saint John the Evangelist, 79-81, 80 Saint Luke, 81 Dresden triptych (Van Eyck), 23, 29, 36, 43 Durante, Annibale, 5 5 Dürer, Albrecht, 44, 49 E Edelheer triptych (Church of Saint Peter, Louvainl, 28 eminentia, Van Eyck and, 30 emozioni dell'anima, mozioni del corpo as reflection of, 7, 83 Entombment (Caravaggio), 8$, ro2 geometry oí, 100, 106 hunchback Nicodemus in, 101-106 and beauty of the deformed, 101 and gobbo (hunchback) as term, 95, 106-7 as Caravaggio figure, 105-7 as Michelangelo figure, 101-6, 102, 103 as rhetorical paradox, 106 sources of inspiration for, 84-87 as imago obliqua, 100 140 TARAGONS AND PARAGONE Entombment (Caravaggio) (continued) paragone of painting and sculpture and, ioo-ioi, 104-6 a s q u o t a t i o n o f M i c h e l a n g e l o ' s P i e t ä , IOO-IOI restoration of, 84 Entombment (Rubens, after Caravaggio), 84, 101, 102, 103, 104 Erasmus, 44 Eusebius, 19 Eyck, Jan van. See also The Annunciation and Apelles, 45 Arnolfini Wedding, 35,45 Baptism of Christ, 33, 34 Betrayal of Christ, 36 Birth of fohn the Baptist, 33-35, 34 Cardinal Albegati drawing, 45 catoptric theory, familiarity with, 33-38, 40 Crucifixion, 36-37, 38 Dresden triptych, 23, 36, 43 Ghent altarpiece, 26, 26, 31, 35, 36 moneylender painting (lost), 51 and painted frames, 29 palette of, 44-45, 47-48 portrait of Jan de Leeuw, 29 reflections in, 33-35, 36-37, 45-46 and rilievo, 29-31, 42 The Virgin with the Canon Van der Paele, 36, 37, 45-46, 46 Women Bathing, 43 F Faldi, Italo, 54-55 Ferreri, Zaccaria, 17-18 Flćmalle altarpiece (Campin), 26, 27 The Florence Pietä (Michelangelo), 105, 104-6 Francesco, Antonio del, 91 G Gaddi, Taddco, 13 Galilei, Galileo, 59, 76 Ghent altarpiece (Van Eyck), 26, 26, 31, 35, 36 giochi di putti (putti playing), 57 Giorgione, 10-11, 43 Giotto, 9 Giovio, Paolo, 7 The Goat Amalthea with the Infant Jupiter and a Satyr (Bernini), 5-2 attribution of, 54 in Bernini's career, 54, 58 color effects evoked in, 58, 59 composition of, 57, 61 dating of, 54-5 5, 59 as difficulté vaincue, 54, 58-59 as invenzione capriccioso, 65-66 limited knowledge about, 53-54 models for, 57, 6o, 61 naturalistic style of, 57-58 and paragone of moderns and ancients, 57 and paragone of painting and sculpture, 58-59 political allegatio and allusions in, 61-64 satyr figure, role of, 61, 64-65 semantic structure of, 56-57 subject of Bernini's modification of, 60-61 mythological sources, 5 9-60 uncertainty about, 56-57 theme of, 5 8 in Villa Borghese, 55-56, 59 Goes, Hugo van der, 28 Goldstein (goldstone), 48-51 Gombrich, Ernst H., ш-п2П59а grisaille history of, 26, 28 liturgical reasons for, 23 Groundplan of Old Saint Peter's Basilica (Alfarano), 93 Guevara, Francisco, 62 Head of the Fifth Apostle from the Left and His Left Hand (Raphael), 13 Hegesippus, 14 Hercules at the Crossroads (Carracci), 15, 15 history painting Alberti on, 10 Raphael's Transfiguration of Christ and, 6, 10 Holy Trinity (Campin), 26, 27 Horace, viii hunchback(gobba) in Caravaggio's Entombment, 101-6 and beauty of the deformed, 101 as Caravaggio figure, 106-7 as Michelangelo figure, 101-6, 102, 103 as rhetorical paradox, 106-7 sources of inspiration for, 84-87 connotations of term, 95, 106-7 hybridization of technique, in paragone of painting and sculpture, ix images, entrenchment of rhetoric in, viii imago vs. similitudo, 31 Incendio del Borgo (Raphael), 18, 18-19 The Incredulity of Saint Thomas (Caravaggio), 103 inscriptions, in banderoles, 43 Institutio oratoria (Quintilian), 86 Islam, Western conception of, in Raphael's Transfiguration of Christ, 8 I N D E X I 4 1 J Jan de Coninck, 28 Jean, duc de Berry, 26 Jordaens, Jacob, 64, 65 Jupiter, chiidhood of. See also The Goat Amalthea with the Infant Jupiter and a Satyr (Bernini) in ancient mythology, 59-60, 64-65 in art, 59-60, 63 Jupiter and Amalthea (Schelte Adams à Bolswert), 64-65, 65 К Kris, Ernst, 86 Kurz, Otto, 86 L Landino, Cristoforo, 69, 86, 87 Lanfranco, Giovanni, 55, 55 Lascaris, Janus, 17-18 Last Judgment (Michelangelo), 98 Last Judgment (van der Weyden), 27, 28 Last Supper (da Vinci), 9, 11, 13 Lavin, Irving, 5 5 Lectiones XVII (Barrow), 39 Lee, Rensselaer, viii Leonardo da Vinci. See da Vinci, Leonardo Leoni, Leone, 102, 104 Leo X (Pope) Giulio de' Medici and, 1 in Raphael's The Transfiguration of Christ, 6-8, 110П44 and Roman theater, 17 and Sebastiano del Piombo's Raising of Lazarus, 3 Lichtenstein, Jacqueline, ix Ligorio, Pirro, 60 Lives of the Artists (Vasari), 76-77, 88-90, 91, 99-100, 102, to6 Longhi, Roberto, 54 Lucian, 68 Lysippus, 91 M Madonna of the Stairs (Michelangelo), 75 as difficulté vaincue, 74-76, 79-8г elongated torso of Mary in, 80-81 as imitation of Donatello, 76-77, 79_8I and paragone of painting and sculpture, 79 rilievo and, 74-76, 79-8Г symbolic content of, 77-79 Mariano da Firenze, Fra, 94 Marino, Giambattista, ix Marriage of the Virgin (Robert Campin—Master of Flémalle Master of Merode), 27 The Martyrdom of Saint Matthew (Caravaggio), 82, 83-84 marveling (meraviglia) of viewer, as goal, 59, 76, too Mary of the Fever (Santa Maria della febbre), 94 Medici, Giulio de', 1, 3-5, 8, 17, 109П3 medium, distance from subject, as measure of artistic prowess, 59, 76. See also difficulté vaincue Melanthius, 45 Metaphysics (Aristotle), viii Metsys, Quentin, 49-5 r, 50 Michelangelo Buonarroti. See also Madonna of the Stairs; Pietà on color, 44 criticism of for lack of decorum, 98-99, 101 on disorder of nature, 74 Florence Pietà, 105, 104, 106 as hunchback Nicodemus, in Caravaggio's Entombment, 101-6, 702, 103 irony, love of, 91 Last Judgment, 98 on mirrors in painting, 121Ш40 and paradox, love of, 90 and paragone of moderns and ancients, ix and paragone of painting and sculpture, 68, 69-72, 7 3 paragone with Raphael, 5-6, 10-11 and Raising of Lazarus (Sebastiano del Piombo), 3-6, 4, i ЮП23 rilievo and, 10, 69-70 on sculpture, nobility of, 73 Sistine Chapel, 10 Varchi letter oí, viii on characteristics of painting vs. sculpture, 69-70 irony in, 67-69, 72-73 rhetorical devices in, 70-72 mimesis. See also rilievo bas-relief and, 74-76, 78 Bernini's naturalism and, 58-59 in comedy vs. tragedy, ГГ4П99 and paragone of painting and sculpture, 10, 29, 44, 87-88, 101 Michelangelo on, 68, 73 poetic, in Raphael's Transfiguration of Christ, 6 Miraculous Draught of Fishes (Raphael; 1515-16, gouache on paper), 20-22, 27 Miraculous Draught of Fishes (Raphael; ca. 1515, pen and ink), 20-22, 27 mirrors in paintings Michelangelo on, 12ГШ40 and paragone of painting and sculpture, ix, 10-11, 42-44 Modello for The Transfiguration of Christ (Pennil, 14, 15, 15, 112П70, ГГ3П73 Modello for The Transfiguration of Christ (School of Raphael), 2 2-3 Mohammed, epilepsy of, 8 The Moneylender and His Wife (Metsys), 49-5 1, 5° mozioni del corpo, as reflection of emozioni dell'anima. 7, 83 Muffel, Nikolaus, 95-96, 99 le múrate di San Piętro, 95 location in Vatican, 96 1 4 2 PARAGONS AND PARAGONE le múrate di San Piętro (continued) and Michelangelo's Pietà, 92, 96, 98-99 Musurus, Marco, 18 N Narbonne, Cathedral at, 1, 3, 16 Navicella mosaic (Giotto), 9 Nicias, 30 Nicodemus as biblical figure, 99, 104-6 in Caravaggio's Entombment, 101-4 and beauty of the deformed, 101 as Caravaggio figure, 104-6 and gobbo (hunchback) as term, 95, 106-7 as Michelangelo figure, 101-6, 102, 103 as rhetorical paradox, 106 sources of inspiration for, 84-87 in Michelangelo's Florence Pietà, 104-6 Nicomachus, 45 0 Onofrio, Cesare d', 61-62 optics, in late medieval thought, 37-40. See also catoptrics,- reflections P painting. See also paragone of painting and sculpture; paragone of poetry and painting disadvantages of, Van Eyck and, 43 grisaille history of, 26, 28 liturgical reasons for, 23 as illusion, 10, 29, 44, 68 imitation of sculpture in (See also The Annunciation) history of, 26-28 liturgical reasons for, 23 Michelangelo and, 10 and paragone of painting and sculpture, ix vs. rilievo, Michelangelo on, 69-70 two-dimensionality of, as advantageous disadvantage, 87-88 palette of Apelles, 44-45 reduced as artful artlessness, 44, 47 and spiritual vs. material values, 47 of Van Eyck, 44-45, 47-48 paragone black touchstone and, 49 definition of, vii extension to various aspects of arts, viii, ix paragone of moderns and ancients, ix, 57 paragone of painting and classical tragedy, in Raphael, 22 paragone oí painting and sculpture, viii Bernini's Goat Amalthea and, 58-59 Caravaggio's Entombment and, 100-101, 104-6 Galileo on, 59, 76 in Greece antiquity, 86, 87-88 imitation of competitor in, ix Michelangelo on, 68, 69-72, 73 Michelangelo's Madonna of the Stairs and, 79 in Netherlandish art, 28-29 Raphael-Michelangelo rivalry and, 5-6, 10-11 in Raphael's Transfiguration of Christ, 5, 7, 10-11 and representation of nature, viii-ix rilievo and, 10, 43, 44, 100 social status as issue in, viii, 67-68 in Van Eyck oeuvre, 31 Van Eyck's Annunciation and, 28-29, 42-44 Varchi on, viii paragone of poetry and painting, viii, ix in Raphael's The Transfiguration of Christ, 6 Varchi on, viii paragone of Raphael and Michelangelo, 5-6, 10-11 paragone of sculpture and paideia, 68 paragons, competing with, as kind of paragone, ix Paul V (Pope), 62 Pecham, fohn, 37, 38, 39, 39-40, 41 Penni, Giovanni Francesco, 14, 15 peripeteia in Caravaggio's Martyrdom of Saint Matthew, 83-84 in Raphael's The Battle of the Milvian Bridge, 20 in Raphael's Incendio del Borgo, 18, 19 in Raphael's Miraculous Draught of Fishes, 22 in Raphael's Transfiguration of Christ, 6, 12, 14 theory of, 14, 17 Perspectiva communis (Pecham), 39, 39-40 Petronilla, tomb of, 92, 99 Phidias, 46-47, 94 picture plane, Caravaggio's interest in, 100 Pietà (Carracci, after Michelangelo), 97, 98 Pietà (Michelangelo), 89, 90 Caravaggio's quoting of, in Entombment, 100-101 Christ's side wound in, 88, 96-99, 101 criticisms on, 90, 96-98 location at Vatican, 92-94, 93, 96, 98 as Pietà delia febbre, 92-94 relative ages of figures in, 90-91, 101 signature and Michelangelo's love of paradox, 90 wording of, 91 signature, legend surrounding, 88-100 and anecdote, characteristic form of, 94-95 as implicit criticism of Michelangelo, 96-99 prototypes of, 94 Vasari on, 88-90, 91, 99-100, ioć Pindar, 48 Pino, Paolo, 84 I N D E X I 4 3 Pliny the Elder on Apelles, 32, 86-87, 88 on black touchstone, 48 and eminentia (rilievo), 30 on origin of visual arts, 71 on palette of ancients, 30, 44-45, 47 on paragone of painting and sculpture, 87 on Phidias, 46-47 on reflected images, 35-37 Plutarch, 46, 94 Poetics (Aristotle), 17-22, 83, 84. See also peripeteia poetry. See paragone of poetry and painting Pontormo, viii Portinari altar (Florence), 28 Portrait of Michelangelo (Vasari), 102 Probierstein (testing stone), 48-51 prominentia. Van Eyck and, 30 Pulzone, Scipione, 84 putti playing (giochi diputti), 57 Q Quaestiones naturales (Seneca), 41 Quintilian, 86 R Raising of Lazarus (Sebastiano del Piombo), 3-6, 4, 16, 110П23 Rape of Proserpina (Bernini), 65 Raphael. See also The Transfiguration of Christ and Amalthea, depictions of, 60 anticipation of future events in, 16 and Aristotle's Poetics, familiarity with, 17-22 The Battle of the Milvian Bridge, 19-20 on color, 44 as paragon, ix paragone of painting and classical tragedy in, 22 paragone with Michelangelo, 5-6, 10-11 theater, connections to, 17-18 use of analogous narratives and figures, 13 Vision of the Cross, 16 Raphael, school of, Modello for The Transfiguration of Christ, 2, 2-3 Raphael, workshop of, attributions to, 108 Rauschenberg, Robert, ix reception by contemporaries, difficulty of reconstructing, 53 reflections. See also catoptrics as signature, 45-47 in Van Eyck, 33-35, 36-37, 45-46 relief. See rilievo representation of nature, and paragone of painting and sculpture, viii-ix rhetorical devices degrees of defensibility and, 71-72 in Michelangelo's Varchi letter, 70-72 rhetorical gestures in Caravaggio's Martyrdom of Saint Matthew, 83-84 in Raphael's Transfiguration of Christ, 11-12 theory of, II, 12, 112-П3П72, 112П73 rilievo. See also mimesis in Caravaggio Entombment, 100, 107 as illusion, 44 Michelangelo's Madonna of the Stairs and, 74-76, 79-81 painterly characteristics of, 74-76 in painting vs. sculpture, Michelangelo on, 69-71 and paragone of painting and sculpture, 10, 43, 44, 100 prehistory of, 69 in Raphael's Transfiguration of Christ, 10 Van Eyck and, 29-31, 42 Robert Campin—Master of Flémalle—Master of Merode, 27 Roman coins and medals, Amalthea in, 63-64 Rubens, Peter Paul Entombment (after Caravaggio), 84, 101, 102, 103, 104 Raphael and, 3 S Sadoleto, Jacopo, 8 Saint John the Evangelist (Donatello), 79-81, 80 Saint Luke (Donatello), 81 Salamanca, 98 Sandrart, Joachim von, 54, 56 San Lorenzo (Bernini), 55, 58-59 San Sebastiano (Bernini), 55 Savonarola, Girolamo, 77-78 schild, as term, 46 sculpture. See also paragone of painting and sculpture imitation of painting in, ix as manual labor, viii, 67-68 mimesis in, and Bernini's naturalism, 58-59 nobility of, Michelangelo on, 73 and philosophy, Michelangelo on, 68 social status of sculptors, viii, 67-68 sculpture, imitation of in painting. See also The Annunciation history of, 26-28 liturgical reasons for, 23 Michelangelo and, 10 and paragons of painting and sculpture, ix Sebastiano del Piombo, 3-6, 4, 16, 110П23 Seelengemälde, in Raphael's Transfiguration of Christ, 9-10 Seneca, 35, 41 senses sight, in Raphael's Transfiguration of Christ, 1 as theme of Bernini's The Goat Amalthea with the Infant Jupiter and a Satyr, 58 signature(s) artists' likenesses as, 45-47 on Michelangelo's Pieta legend surrounding, 88-100 and anecdote, characteristic form of, 94-95 as implicit criticism of Michelangelo, 96-99 144 PARAGONS AND PARAGONE signature(s) (continued) on Michelangelo's Pietà (continued) prototypes of, 94 Vasari on, 88-90, 91, 99-100, 106 and Michelangelo's love of paradox, 90 wording of, 91 similitude* vs. aequalitas, 31 Sistine Chapel (Michelangelo), 10 Smith, Rudolph, 62 social status, and paragone of painting and sculpture, viii, 67-68 Socrates Michelangelo's emulation of, 68-69 on painting, 69 Sofonisba (Trissino), 17 Soria, Giovan Battista, 54-55 soul, demeanor as reflection of, 7, 83 steps, in Michelangelo's Madonna of the Stairs, 77-78 Streichstein (streaking stone), 48-51 Suárez, Francisco de, 3 T technique, hybridization of, in paragone of painting and sculpture, ix Ternsche Akademie (Sandrart), 54 Theophrastus, 48 The Thief Gesinas (Coninck), 27 Titian, ix, 44 touchstone. See black touchstone The Transfiguration of Christ (Raphael), xii, 9, 14 apostles in, 9-12, 16-17, 111П70, 114П99 comic elements in, 17, 114П99 commissioning of, 1 crowd figures in, 17, 114П99, П4ПГ03 as difficulté vaincue, 6-7, 8-9 historical context of, 8 and history painting, 6, 10 James the Less in, Г2-14 and Leo X as medicus, 6-8, 111П44 Mary Magdalene in, 14, 15-17, 114П99 paragone of painting and sculpture in, 5, 7, 10-ri and paragone of poetry and painting, 6 pentimenti in, 5-6 peripeteia in, 6, 12, Г4 possessed boy in, 6-8 rilievo in, 10 Sebastiano del Piombo's Raising of Lazarus and, 3-6 Seelengemälde in, 9-ro studies and modellos for, 2, 2-3, 73 subject matter, choice of, 1, 109ПГ0 theme of, 1 earlier versions of, 2-3 Gombrich on, iri-ii2n59a modifications in, 3, 6, 8-9 Trissino, Gian Giorgio, 17 trompe-l'oeil motionlessness and, 43 and paragone of painting and sculpture, ix Van Eyck's Annunciation as, 31, 41-43 Turin-Milan Hours, 36 U ut pictura poesis, change in meaning over time, viii V Valla, Giorgio, 17 Van Eyck, Jan. See Eyck, Jan van Varchi, Benedetto, viii, 67-68, 72-73, 87-88 Vasari, Giorgio on Michelangelo's Madonna of the Stairs, 76-77 on Michelangelo's Pietà, 88-90, 91, 99-100, 106 and myth of Amalthea, 62-63 Portrait of Michelangelo, 102 Veronese, Paolo, 3 Virgin Mary, colors associated with, 47-48 The Virgin with the Canon Van der Paele (Van Eyck), 36, 37, 45-46, 46 Vision of the Cross (Raphael), 16 visual art, legend on origin of, 71 Volterra, Daniele da, 91, 103 Vorágine, Jacobus de, 47-48 W Weyden, Rogier van der, 27, 28 Witelo, 37, 38, 39 Women Bathing (Van Eyck), 43 X Xenophon, 69 Z Zeuxis, 30 |
