| Volltext: | Index Page references in italic type indicate illustrations. Adorno, Theodor, 167 aesthetic/s as distant, autonomous realm, 203 Ficino's theories, significance of, 69 of female beauty (Vasari), 184 grounded in the moral, and vice versa (Bocchi), 203 of landscape, 28, 33 of naturalism, 82 philosophical Claims of, 3 principles of Northern art, 81, 83-4 Renaissance, 12-13, 20 biological basis of, 14, 22 of Vasari, 180-1 of Venetian glass, 164 Agathon, 186 Alberti, Leon Battista, 10, 16-19, 29' 67, 69, 101 architectural theory of, 107, 113 on the artist's attention to beauty, 66 De pictura, 16-17, 30 one-point perspective in, 33-4 De re aedificatoria, 135 De statua, 16 on the dress of unmarried men, 46 explanation for origin of artistic activity, 16 illegitimacy of, 17 on the invention of painting, 97 Libri della Famiglia, 45-6 on Observation of appropriate movements, 126 recommendation on use of naturalistic portrayals, 17 response to colour, 30 sharing of emotions witnessed, 16-17 settings to exhibit variety and decorum, 30 understanding of Operations of the brain, 17 Alfonso of Aragon, King of Naples, 33 Andrea del Sarto Birth of the Virgin (Florence, SS Annunziata, Chiostro dei Voti), 2 Madonna del Sacco (Florence, SS Annunziata), 9, 194-5 oration in praise of (Bocchi), 193 Anguissola, Sofonisba, self-portraits of, 99 Antonello da Messina, 33 Antonio da Sangallo the Younger, see da Sangallo, Antonio Apelles, 69, 182 Apocalypse, the, 20, 170 Apollo Belvedere (Vatican), 150 228 INDEX appropriateness, see decorum, convenevolezza Aquinas, St Thomas, 53 Aretino, Pietro, 96 Arezzo, 96 Aristotle, 33, 53, 130 characterization of beauty, 192-3, 196 ideal of beauty, 33 movement the index of the soul, 127 priority of form over matter, 163 attitudini (attitudes, poses, postures), in Borghini, 192 in Lomazzo, 126 Augsburg, school of painting of, 86 Augustine, St, 84 Augustus, Emperor, 56-7 Bacon, Francis, 170 Baiardi, Andrea, as Petrarchan poet, 138 Elena, 137 Baldassini, Melchiore, palace of (Antonio da Sangallo), 114 Baldinucci, Filippo, on leggiadria, 129 Baldovinetti, Alessio, landscapes of, 33 Baidung Grien, Hans, St Sebastian Altarpiece, 98 Bandello, Matteo, Canzoniere, 129 Bardo, Tunisia, Musee Nationale, Roman 3rd-century mosaic, 184 Barovier, Angelo, 164 beauty (bellezza) absolute and relative b., 3 in abundance, 28-31 aesthetic b. of gardens, 31 Alberti on, 66 in architecture, ancient, 112 commodity and Utility linked with, 114 and decorum in, 108 and good design in, 7, 107, 110, 114 dependant on proportion, 107-8 and elegance in design, 108 not exclusively classicizing, 110 in quality of materials, 111 of appearance seen as negative factor, 83 in behaviour, appropriate or harmonious, 44 art as pursuit of, 70 artist as b., 9, 93, 96, 98, 101 biological basis of sense of, 10 of the body as measure of spiritual b., 68 of nude male, 155 symmetry and proportions of, 44, 71, 124, 127, 180 as a civic asset, 9 classical theory of harmonious physical b., 3, 181 the concern of art, 66, 73 and connotations of class, 82 in courtly notion of Love, 82 cultivation of, in Renaissance statecraft, 9 defining characteristic of 'Classic Art' (Wöllflin), 2 of the Renaissance, 1 definition of, in Ficino's De amore, 148 derives from God, 94, 149, 180 from order and proportion (Vasari), 181 from physiology or neurology, 12 of the description of and response to nature, 1 developed within the social sphere, 163 emphasis on, in Bocchi's Belle:zze, 195 in eulogies of cities, 9, 195 female b., 1, 3, 95, 180 aesthetic of (Vasari's), 184 German ideal of, 81-2 of goddess Venus, 70, 181, 187 perfect idea of, in Firenzuola's dialogue, 36-7 portrayal of, by Parmigianino, 134, 139 writings on, 125 of the garden of delight, 28-9 identified in the feminine (Wöllflin), 2 importance of in Renaissance culture, 1 INDEX 229 (Beauty, cont.) indefinable, 37 influenced by social Conventions, 45 intellectual perception of, 35 in landscape depiction, 28, 30-1, 36 in the 'lifelikeness' of painted images, 33 localized in Florence, 196 mark of inherent nobility, 82, 199 metaphysical equation between B. and Goodness, 83 moral quality of, 81, 87, 202 resonance of, as sign of virtü, 202 in movement, 8, 68, 125-6, 129, 130 mysogynist suppression of b. as vanity, 3 in and of nature, 5-6 Neoplatonic notion of an ideal/ spiritual beauty, 125, 149, 181 outward b. symbolizes an inner grace, 48 of the outward refinement of life (Burckhardt), 1 perception of requires act of objectification, 203 of the perfection of man, 1, 127 personal b. as signal of divine favour, 94, 97, 180 of philosophy, 1 physical b. complemented by 'graces', 95 in image of Venus, 70, 184, 187 produced by imagination in collaboration with memory, 5 pursuit of, as prime spiritual and aesthetic objective, 69 as quality expressing a city's merit, 195 towards which all other qualities contribute, 199 as relation between parts to one and another and to the whole, 199 representation/s of, in the Renaissance, 3-4, 11 reveals what is hidden, 204 scattered over the city of Florence, 9, 196 secularization of ideals of grace and, 164 sense of, based on sexual desire, 18 shift from spiritual to mundane in concepts of, 170 sign of a higher integrity or perfection, 203 social practices tarnish spiritual ideal of, 170 value of the b. of glass, 10 socially conditioned notion of, 82 defined in dress, 45 of springtime, 9, 29 transparency as key concept of, 170 true to life (in Leonardo), 183 vernacular tradition of, 8 of the Virgin Mary, 137-8 virtue and, 9 of the virtuous soul, 127 of workmanship, 7 Beccafumi, Domenico, 130 bella maniera, 124 of Parmigianino (Vasari), 97 bellezza (beauty), 124-5, 127 132 di colore, 165 and grazia, 7, 181 and leggiadria (Bandello), 129 of palace at Belriguardo (degli Arienti), 52 as an outer manifestation of an inner radiance or light, 130 in relation to movement, 126 usage of term by Bocchi, 199 bello/bellissimo, 52, 124, 191,199 Bellini, Giovanni, 15, 139, 165 Belriguardo, palace of, at Voghiera near Ferrara, 52-5 agricultural resources and hunting of, 56 first courtyard, window, 54, 62 grand staircase of, 56 Legend of Cupid and Psyche frescoes (Ercole de' Roberti?), 54 23O INDEX (Belriguardo, cont.) portraits of Ercole I d'Este and his courtiers, 54 Belvedere Torso (Vatican), 150, 153 Bembo, Pietro, 44, 48 on Giovanni Bellini, 139 Gli Asolani, 128-9 on Palazzo Baldassini, Rome, 114 Bernini, Gianlorenzo, 22 Berruguete, Alonso, 33 Bertoldo di Giovanni, 8, 71, 147 'Apollo' (Florence, Bargello), 71, 79 Bellerophon (Vienna, Kunsthistorisches Museum), 71 Boccaccio, Giovanni, 1 Decameron, 29 Bocchi, Francesco, 9, 193-6, 199-203 art theory of, 191 beauty in, closely linked with strength, 202 expressive of Florentine achievement, 195 as a feature of details; ornamental, 199, 201 inseparable from perfection, 193 in the motion of living figures, 200 in relation to an inner quality, 202 rhetorical purpose of notion of, 195 as splendour and artistic quality, 196 the substance of discussion, 199 as a useful intellectual tool, 195 Eccellenza del San Giorgio di Donatello, 9,191,193-6, 202 Le Bellezze della cittä di Fiorenza, 9,191, 195-6,199, 201-3 orations in praise of Michelangelo and Andrea del Sarto, 193 Bologna, Palazzo Lambertini courtyard (drawings by Peruzzi; Florence, Uffizi), 113-14, 122-3 S. Petronio, fa^ade designs, 109 Bomarzo, 21 bonfires of the vanities, 1, 11 Borghini, Rafaelle, 193-4, 196 II Riposo, 191, 195 Borghini, Vincenzo, 'Selva di notizie', 194 Borromini, Francesco, 22 Boschini, Marco, 169 Botticelli, Sandro, 7-8, 67, 72-3 Birth of Venus (Florence, Uffizi), 7, 70 contrasted with Leonardo's lost Leda, 73 change in attitude towards nature, 66, 69 friend of Savonarola, 33 landscapes of, 19, 31, 72 Madonna and Child with Angels, the Raczynski tondo (Berlin, Gemäldegalerie), 70, 77 portraits of, 70, 73 Primavera (Florence, Uffizi), 5, 7, 30-1, 3 4' 3 9 landscape in, 30, 34, 37 Bramante, Donato, on the Milan cathedral tiburio, 108 Breu, Jörg, the Eider aesthetic neutrality in, 86 Flagellation of Christ (Aggsbach Altarpiece, Herzogenburg), 84, 90 late style of, 86-7 Mocking of Christ (Innsbruck, Tiroler Landesmuseum), 85, 91 Story of Lucretia (Munich, Alte Pinakothek), 86, 92 Bronzino, Agnolo, Resurrection (Florence, SS Annunziata), 192 Bruges, 15 Brunelleschi, Filippo, 12 invention of one-point perspective, 33 paintings of Palazzo Vecchio and Baptistery in Florence, 15 Buontalenti, Bemardo, Casino di S. Marco, 196 Burckhardt, Jacob, 1-10 Kulturgeschichte of, 2 INDEX 231 (Burckhardt, cont.) The Civilization of the Renaissance in Italy, 1 Calvo, Fabio, translation of Vitruvius for Raphael, 107-8 Camerarius, Joachim, on Dürer, 94 Capponi, Jacopo, 184 Caravaggio, Narcissus (Rome, Galleria Nazionale, Palazzo Corsirii), 101 Casalmaggiore, 134 Castiglione, Baldassare, 97 II Cortegiano (The Courtier; 1516), 44, 47/ 128 on leggiadria, 128 on the movement of the body, 125 on skills of the ideal courtier, 95 sprezzatura of, 98 Cellini, Benvenuto, on Baldassare Peruzzi, 110 Perseus (Florence, Loggia dei Lanzi), 2 Cencio, Bernardo, Canon of St Peter's, 150 Cennini, Cennino, art theory of, 66 Libro dell'Arte, 31-2 Cesariano, Cesare, 1521 edition of Vitruvius, 108 Chaldean Oracles, the, 152 changing technology of artefact production, 163 Charles V, Emperor, 109 Christina of Lorraine, Grand Duchess of Tuscany, 196 Cicero, M.T., 45-6, 181 claritas (clarity), 170 composition, 179 Constantinople, Fall of (1453), 19-20 colori (colours; Borghini), 192 colorito (colouring), 199 Venetian, 169 concetto (conceit; in Vasari), 183 concinnitas (commensurability of parts; L.B. Alberti), 107, 110 congruentia (commensurability of parts; medieval), 107 contrapposto, 136, 166 convenevolezza (appropriateness), 6, 44-6 Copernicus, Nicolaus, 169 Cortesi, Paolo, 111, 114 cultivation of manners, the, 167 Daddi, Bernardo, Madonna and Child with Angels (Florence, Or S. Michele), 70, 78 Dante Alighieri, 29, 125 Danti, Vincenzo, Trattato delle perfette proporzioni (1567), 192-3 d'Aragona, Eleonora, 53 Cardinal Luigi, 109 Darwin, Charles, and natural selection, 16-18 da Firenze, Bernardino, Le bellezze et chasati di Firenze (c.1500), 195 da Hollanda, Francisco, 80 da Sangallo Antonio the Vounger, 7, 110 on low quality of execution, 112 palace for Melchiore Baldassini (Rome), 114 reference to 'bene lavorato' brickwork, 111 response to the Pantheon, Rome, "4 Giuliano, drawings of, 111 da San Lucano, Novello, 56 da Sanseverino, Antonello, 56 Roberto, 55-6 d'Atri, Jacopo Probo, envoy of Francesco Gonzaga, 109 Davanzati, Bernardo, funeral oration for Cosimo I de' Medici, 202-3 da Vinci, Leonardo, 9, 10, 12,17-19, 20, 21, 33, 66, 67, 72-4, 99, 183 aesthetics of, largely biologically based, 19 alpine backgrounds in paintings of, 32 artistic legacy preserved by Melzi, 100 attacks on primacy of hne and colour, 72-3 on sculpture, 72 awareness of biological basis of beauty, 18 232 INDEX (da Vinci cont.) on beautiful invention, 19 on beauty of flowers, 28 beauty true to life in (Vasari), 183 on Botticelli's landscapes, 31, 72 challenge to Ficino's aesthetic philosophy, 72 demonstration of superiority of eye over ear, 18 development of elaborate preparatory process, 18 divine grace of action (Vasari), 94 effect of rules of nature on artistic activity, 18 the eye as the 'window of the soul', 72 faith in Imitation of nature, 72 genius of (Vasari), 95 Ginevra de' Bend (Washington D C, National Gallery of Art), 5 on human beauty, 18 illegitimacy of, 17-18 inventive drawings of, 6 on landscape, 18-19 Leda (lost), 8, 73 as calculated critique of e.g. Botticelli, 73 Last Supper (Milan, S. Maria delle Grazie, refectory), 94 Life of (Paolo Giovio), 94 (Vasari), 6, 74, 93-5,183 Madonna and Child with St Anne (lost cartoon), 94 on the Milan cathedral tiburio, 108 modelling in light and shade, 73 Mona Lisa (Paris, Louvre), 5, 8, 18, 73 painting the 'daughter of nature', 72 on portraiture, 73 self-portrait drawing (Turin), 98 self-portrait drawing (?) (Windsor), 99-100, 106 soft tonal transitions of, 35 treatise on painting, 8, 31, 72, 131 Vasari on, 74 'word-paintings' of, 32 dei Cavalieri, Tommaso, 100-1 decorum (appropriateness), 7, 30, 32 in architectural context, 108 in Borghini, 192 of dress, 46-7, 82 in representing movement, 124, 131 in use of materials, 111 degli Arienti, Giovanni Sabadino, 7, 29, 52-7 beauty and magnificence closely related for, 52 De triumphis religionis, 52, 57 delight, garden of, see garden of delight de Beatis, Antonio, 109 della Casa, Giovanni, 44, 47-8 Galateo, 44 de' Medici, family, 30, 34 Cosimo I, Duke and Granduke, 9, 200-1 Cosimo 'il Vecchio', 147 Giuliano, 47 Ippolito, Cardinal, 184 Lorenzo, the Magnificent, 30, 147 Giardino di S. Marco of, 147 Petrarchan vernacular poetry of, 7 on 'paradise', 30 de Oviedo, Fernandez, 33 del Cossa, Francesco, frescoes in Palazzo Schifanoia, Ferrara, 54 d'Este, Dukes of Ferrara, 200 Alfonso, 166-7 Borso, Duke of Ferrara, 48, 54-5 Ercole I, Duke of Ferrara, 7, 29, 52, 55-7 Isabella, 139, 165 Devotio Moderna, 8, 83 dignitas (worthiness), 54 Dionysius the Areopagite, Celestial Hierarchy, 150-1, 153 disegno (design), 35, 69,180 as animated, harmonious arrangement of lines, 70 connection with beauty, 69 spatially orienting quahty of line, 168 INDEX 233 (disegno cont.) Vasari's definition, 191 Vasari on Leonardo's d., 74 dispositione (arrangement; Borghini), 192 Dolce, Ludovico, 3 on beauty in symmetry and proportion in the human body, 124 Dialogue on Painting, 132, 138 on leggiadria, 132 on Parmigianino, 138 dolcezza (sweetness), 6 Donatello St George (Florence, Or S. Michele), 9, 191, 194-5, 201-3 Doni, Anton Francesco, 169-70 drawing, technical proficiency in (Vasari), 179 dress appropriateness (convenevolezza) of, 6, 44/ 46-7 decorous display of, 82 female, 45, 47 male, 45-6 nuances of meaning in, 48 and rank, 48 variety of, 6 Dürer, Albrecht, 20, 86, 94 Apocalypse woodcuts, 20 Feast of the Rose Garlands (Prague), 98 Self-portrait (Madrid, Prado), 98 Self-portrait (Munich, Alte Pinakothek), 98 Self-portrait, sent to Raphael (lost), 97 Ebreo, Leone, Dialoghi d'amore (1535), 181 El Pardo, palace of Emperor Philip II, 165 Equicola, Mario, Libro di natura d'amore (1525), 181 Ercole de' Roberti, 54 Eros funebre, 152 facilitä (effortlessness), 7, 36 fantasia (imagination), 32 Fazio, Bartolommeo, De viris illustribus, 33 feature detection and protection, 13, 15 Ferrara, 9, 48, 52, 57 Belfiore, 53, 55 Castello, Castel Vecchio, 53 'heavenly' garden of, 29 Herculean Addition, 53, 55 Palazzo del Corte, 53-4 scala coperta, 54-5, 57, 61 Torre di Rigobello, 54-6 Palazzo dei Diamanti, 57, 65 Palazzo Schifanoia, fagade, 55 Sala degli Stucchi, 55 Salone dei mesi, frescoes (Francesco del Cossa and others), 54-5 detail: View of a city, 55, 63 Zardino de Madama, 53, 56 fountains, cisterns and fish-ponds of, 56 Fiamma, Galvano, 57 Ficino, Marsilio, 184 aesthetic theories of, 7-8, 68-9 challenged by Leonardo da Vinci, 72 drawn on by Lomazzo, 126 influence on development of sculpture, 70-1 and amor divinus, 154 beauty, associated with ordo, modus and species, 68 denotes good, 154-5 explanation of, 180 as expression of interior moral goodness, 180 formal principles of, 70 of the human body, 149 new ideal of, 7 investigations into beauty, 68 as reflected splendour of divine countenance, 147, 154, 180 search for, 69 shows harmony and splendour of justice, 71 234 INDEX (Ficino cont.) Commentary on Plato's Symposium, De amore (1484), 67, 94, 147-9/ 180-2 definition of beauty in, 148 and concept of disegno, 72 emphasis on aesthetic objectives such as beauty, 67 on the expressive powers of the human body, 67, 71 letter on 'A picture of a beautiful body and a beautiful mind', 71 Neoplatonic philosophy of, 147 primacy of line and colour, 72 propounder of new aesthetic outlook, 67 On a painting of Love, 186 on sculpture, 71 Theologiae platonicae, 68 translator of Dionysius the Areopagite, 151 of Plato, 68 figura serpentinata, 126,150, 153, 155 Filarete, Antonio Averlino, called, Trattato, 57 Firenzuola, Agnolo, 3, 45 On the Beauty of Women, 29, 45, 128, 138 on leggiadria, 127 on the movement of the body, 125 firmitas (strength, endurance), 7, 107,112 Florence, 15, 20, 191, 195-6, 201 Accademia del Disegno, 194 Casino di S. Marco (Buontalenti), 196 Cathedral cupola, 9, 195, 201-3 Giardino di S. Marco, 147 nobility of, 195, 200 Ospedale degli Innocenti, 199 Palazzo Medici, pianterreno Windows (Michelangelo), 201 Palazzo Vecchio, Scrittoio di Calliope (Vasari), 183-4 Piazza S. Croce, 200 Piatonic academy of, 147 S. Lorenzo, Laurentian library, 21, 202 S. Maria Novella, Chiostro Verde, Creation cycle (Uccello), 34-5 S. Maria Nuova, 199-200 S. Marco, Salviati Chapel, 196 S. Miniato al Monte, cloister frescoes (Uccello), 34 virtü of, 199 war with Rome, ended 1480, 67 France, Queen of, visit to Murano, 166 Francia, Francesco, 93, 100 Franciabigio, Francisco di Cristofano, 2 Freud, Sigmund, 3, 6 Gaillon, Chäteau of, 109 garden of delight (locus amoenus), 28-9 as favourite motive in art, 29 as literary setting, 29 as work of art, 29 Genoa, encomium of, 195 Ghirlandaio, Domenico, 70, 73 Birth of St John the Baptist (Florence, S. Maria Novella, Tornabuoni Chapel), 2 Birth of the Virgin (Florence, S. Maria Novella, Tornabuoni Chapel), 2 Giles of Viterbo, 151 Giorgione (Giorgio da Castelfranco), 15 Giovio, Paolo, Life of Leonardo da Vinci (1525), 94 Giotto di Bondone landscape elements of, 32 practice of school of, 31 Presentation in the Temple (Florence, S. Croce; lost), 124 Giulio Romano, 9, 93, 100 Life of (Vasari), 95 glass, Venetian, 163-4, 166-7, x68 aesthetics of, 164 and behaviour, 163, 167 chalcedony (vetro calcedonio), 165 goblet in, c.1480 (London, Wallace Collection), 165,173 cristallo, 164-6 transparency of, 164, 168 wine-glass with blue baluster stem, mid-16th Century (Murano, Museo Vetrario), 167, 174 INDEX 235 (glass, cont.) handling of, 163-4, 166-7, 1^9 ice-glass (vetro a ghiaccio), 165,167-8 bücket in, late 16th Century (Murano, Museo Vetrario) 168,175 lattimo, 164 millefiori, 164-5 bowl in, c.1500 (London, Victoria and Albert Museum) 165, 172 rosechiero, 164 sandwich-glass, 164-5 technology of, 166 turchino, 164 vetro a fili, 168-9 Standing cup and Cover, in mid- 16th Century (London, British Museum), 168, 177 Gonzaga, Francesco, 109 Gian Francesco, Marquess of Mantua, 17 Gottifredi, Bartolommeo, 47 grace, see grazia Graces, the Three, 8, 136, 184-6 Granada, Cathedral, Capilla Real, 109 gratia (elegance), in architecture, 108 grazia (grace), 132, 137 and bellezza, 7, 181, 186 Bocchi's use of, 193 as element of beauty (Vasari), 36, 182 of Leonardo da Vinci (Vasari), 74, 94-5 of Parmigianino, 8, 95 of Raphael (Vasari), 96, 182 of Raphael's self-portrait (lost; formerly Cracow), 98 of 'sympathy among colours' (Alberti), 31 Vasari's use of, 95, 101, 124,131 Gualtieri d'Anversa, 183 Guarino da Verona, 29 Harmony (uttiotte), 34, 182 Heavenly Jerusalem, the, 170 Hermogenes of Tarsus, Khetoric, 193 Homer, 3, 29 Horace, 137 Odes, 184-5 Housebook Master, the, 83 hübsch (beautiful, attractive), 82 imitation of nature, 31-3, 67, 69,179, 183 Leonardo's faith in, 72 Savonarola on, 33 Vasari on Leonardo da Vinci, 66 ingegno (skill), 111 invenzione (invention), 32 in Borghini, 192 of Parmigianino, 97 in Vasari, 179, 183 Jerome, St, 140 John the Evangelist, St, 170 Julius II, Pope, 149, 155 Karsthans, 83 Landino, Cristoforo, 154 Commentary on Dante's Divina Contmedia, 148 Laocoön (Vatican), 150,153 Laura, of Petrarch, 4 landscape depiction in fifteenth Century, 28 in Botticelli's Primavera, 30 Leonardo da Vinci on, 18-19, 31 of universal beauty, 28-31 lavorato (designed, worked), 111 leggiadria (lightness), 8,126, 127, 129-32, 167 defined by Baldinucci, 129 as beauty in movement, 8 and bellezza (Bandello), 129 defined by Firenzuola, 128 as discussed by Castiglione, 128-9 and physical light, 129-30 as a quality of lightness, 128 Vasari's use of, 127,130 Leonardo da Vinci, see da Vinci, Leonardo Lessing, Gotthold, 3 Le Verger, Chäteau of, 109 light Christ as the L. of the World, 151 236 INDEX (light cont.) Dionysius the Areopagite on, 151 metaphysics in the Renaissance, 151 Neoplatonic connotations of, 130 in Parmigianino's Steccata vault decoration, 139, 145-6 in relation to leggiadria, 129-30 reflected, in Venice, 15 Lippi, Fra Filippo, Madonna and Child (Washington D C, National Gallery of Art), 70 locus amoenus, see garden of delight Lomazzo, Gian Paolo on beauty contained in the figura serpentinata, 126 Idea of the Temple of Painting, 126 Treatise on the Art of Painting, 49, 126 Lorenzo di Credi, 2 Loreto, Litany of, 137 Love as a painter (Petrarch), 4 Ludolph of Saxony, Vita Christi, 84 Luther, Martin, 20, 85, 86 Tischreden, 85 Maffei, Timoteo, 57 magnificentia (magnificence), 7, 54, 56 in architecture, 57 closely related to beauty (degli Arienti), 52 expressed in expenditure, 52-3 importance of scale, 52, 55 importance of use of expensive materials (Pontano), 111 practical discussion of (degli Arienti), 57 Renaissance definitions of, 52 maiolica, 10, 163, 167 Manetti, Gianozzo, 57 maniera (manner; Vasari), 101, 124,180, 186-7 as element of beauty (Vasari), 182, 191 Mantegna, Andrea, 7, 32-3 Camera picta, Mantua, 54 Madonna of the Stonecutters (Florence, Uffizi), 32, 35, 41 St Sebastian (Vienna, Kunsthistorisches Museum), 20 understanding of rocky formations, 32' 37 Virgin and Child with the Magdalen and St John the Baptist (London, National Gallery), detail of stony foreground, 32' 4° Mantua, Castello, Camera picta (Andrea Mantegna), 54 Martini, Francesco di Giorgio, on 'agreement and concordance', 113-14 on the Milan cathedral tiburio, 108 response to the Pantheon in Rome, 114 Masaccio, 12 Master MZ, 83, 89 Melzi, Francesco, Vasari on, 99-100 membri (in Borghini), 192 Memling, Hans, oil technique of, 35 Michelangelo Buonarroti, 2,12, 71, 74, 147-57 architecture of, 21 Bocchi on, 201 criticism of Northern painting, 80 David (Florence, Accademia), 148-9 Dying captive (Paris, Louvre), 151-3, 159 and the figura serpentinata, 151, 153 Florence Palazzo Medici, pianterreno Windows (Bocchi on), 201 S. Lorenzo, Medici Chapel drawing for moulding in, 20, 26 Night, 9, 194 Laurentian library, vestibule, 21 Ideal Head (Windsor, no.12764), 101 Last fudgement (Vatican, Sistine Chapel), 201, 203 Life of (Vasari), 99-101 and Neoplatonism, 9, 147 oration in praise of (Bocchi), 193 Pietä (Vatican, St Peter's), 148, 155 Rondanini Pietä (Milan, Castello Sforzesco), 155 INDEX 237 (Michelangelo, cont.) poetry of, 148 Rebellious captive (Paris, Louvre), 151, 153-4, 16° Risen Christ (Rome, S. Maria sopra Minerva), 149-50, 158 Vasari on, 150 Sistine Chapel ceiling frescoes (Vatican), 21, 149 Creation of Adam, 125-6, 149 detail of baluster in, 21, 27 Fall of Man and Expulsion from Paradise, 152 Ignudi, 126, 151 Tomb of Pope Julius II, 149 Victory (Florence, Palazzo Vecchio), 154-5, 162 Milan, Cathedral, tiburio, 108 Sforza court in M., 32 Minucci, Andrea, 108 misura (proportion; Vasari), 124-5, 180 Modena, Biblioteca Estense, MS of De sphaera, 184 modus (measure; Ficino), 68 mondo/mundus, 170 morbidezza (softness; in Vasari), 7, 34 Mount Taurus, Leonardo da Vinci's 'picture' of, 32 Murano glass, 164-5, 168-9 fiolarii (blowers of), 164, 167 furnaces of, 166-7 Naples, Chiesa del Gesü Nuovo, 56, 64 nature beauty and value, or meaning, of, 5 imitation of, 31-3, 66, 67, 69, 179, 183 Leonardo's faith in, 72 Savonarola on, 33 the painter's experience of, 5 Neoplatonism, Neoplatonic, 3, 8, 126, 150, 181, 184 concept of the perfect beauty of the nude male body, 155 connotations of light, 130 discussions of the arts, 124 idea of artistic inspiration from heaven, 101 Michelangelo and, 9, 147 theories of beauty, 125, 130, 149, 180, 187 Vasari and, 184 Neri, Antonio, L'arte vetraria (1612), 165 Netherlandish tapestries, 30 neuropsychology of vision, 12, 13-16, 21 New World, the, 170 Nifo, Agostino, Del hello. II hello e nella natura (1549), 181-2 nobility (nobiltä), 82, 199 Nürnberg, 20 ordine (order; Vasari), 180 ordo (arrangement; Ficino), 68 Ornament, 184 absence of, 201 Orsino, Leone, 181 Ovid, 3, 181 paese, paesi, 29, 34 by Uccello, 34 Palladio, Andrea, 109 Paris, 201 Palmieri, Matteo, 48 Deila Vita Civile, 46 Parma, 134, 140 S. Maria dei Servi, Baiardi Chapel, 137 S. Maria della Steccata, 127, 134-40 Parmigianino, Francesco, 9, 10, 93, 99-100, 134-40 beautiful 'grace' and 'air' of (Vasari), 95, 183 criticized by Lomazzo, 49 fresco decoration in Parma, S. Maria della Steccata, 8, 134, 137, 143, 145-6 'Coronation of the Virgin', drawing for, 135, 140 vault and soffits, drawings for, 135, 140 Wise and Foolish Virgins in, 127, 128, 130, 134, 136-7, 139-40 beautiful inventions for, 134, 136 238 INDEX (Parmigianino cont.) drawing for (Modena, Galleria Estense), 138, 144 drawings for, 136, 138-9 idea of female beauty, 139 interest in Petrarchan poetry, 138 Life of (Vasari), 95-6, 134 Madonna of the Long Neck (Florence, Uffizi), 2, 8, 10, 137-8 preparatory drawings for, 137 visual poetic of desire in, 138 Self-portrait in a Convex Mirror (Vienna, Kunsthistorisches Museum), 96-7, 104 and vaghezza (charm), 8 Perino del Vaga, 9, 93, 100 physical beauty of, 97 perspective, one-point, 33 Perugino, Pietro, 36, 100 frescoes in Vatican, Sistine Chapel, 67 Lamentation (Florence, Palazzo Pitti), 36 Virgin and Child with an Angel (London, National Gallery), detail of landscape vista, 36, 43 Pope Boniface Confirming the Habit of his Order (Florence, Convent of the Ingesuati), 36 Peruzzi, Baldassare, 7, 109-11 drawing of capital in Temple of Mars Ultor, Forum of Augustus, Rome (Florence, Uffizi), 111, 120 drawings for dam on River Bruna, near Siena (Florence, Uffizi), 112-13 drawings for faqade of S. Petronio, Bologna, 109 drawing of 'Nicchione' in walls of Todi (Florence, Uffizi), 112, 121 drawings for Palazzo Lambertini, Bologna, courtyard (Florence, Uffizi), 113-14, 122-3 drawings of Temple of Castor and Pollux, Rome, Forum (Florence, Uffizi), 110-11, 119 on firmitas, utilitas and venustas, 112 Palazzo Massimo alle Colonne, Rome, 111, 113 sensitivity to issues of design, 110 Petrarch, Francesco, 1, 3-5, 9, 10, 140 Canzoniere, 138 descriptive tradition of, 138 and discovery of natural beauty, 4 lyricism and lyric poetry of, 4, 6, 125 Parmigianino's interest in poetry of, 138 poetics of desire, 8, 134 remembering of the past, 5 as an artistic practice, 5 Rime sparse, 4 Phidias, 81 Philip II, Emperor, 165, 167-8 Physiologus, the, 152 Pico della Mirandola, Neoplatonic philosophy of, 147 Piccolomini, Alessandro Institution Morale, 45 Raffaella, 47 Pienza, Cathedral, 108 Piero di Cosimo, 2, 19 Simonetta Vespucci (Chantilly, Musee Conde), 19, 23 pietre dure, 165 Pisanello, Antonio, 29 Pius II, Pope, awareness of concept of appropriate conformity, 108 Commentaries, 114 Plato, 3, 68, 97, 181, 184 movement the index of the soul, 127 notion of beauty, 124-5, 13°/ 148, 151-2, 154 Symposium, 153 Timaeus, 148 views on art, 68 Pliny, theory of human proportions, 186 Plotinus, 184 concept of radiance or splendour, 180 Poliziano, Angelo, 3, 30 Neoplatonic philosophy of, 147 Petrarchan vernacular poetry of, 7 Pollaiuolo, Antonio, 33, 66-7, 70 INDEX 239 Pontano, Giovanni, 46, 55-7, 111 De magnificentia, 53-4 I Trattati delle virtii sociali (1493-98), 45 Pontormo, Jacopo, Annunciation (Florence, S. Felicitä), 8, 131 prestezza (speed; of Tintoretto), 169 Propertius, 3 proportion, 44, 127, 180-1, 193 in architecture, 107-8 in the human body, 71, 124 Protogenes, 31 Prudentius, Psychomachia, 154 puro sanza ornato, 201 Quarton, Enguerrand Coronation of the Virgin (Villeneuve-les- Avignon), detail, 19, 24 Raphael, 9, 100, 182 annotation to Calvo's translation of Vitruvius, 108 architectural work of, 111 contact with Castiglione, 97 Fire in the Borgo (Vatican, Stanza dell' Incendio), 2, 137 frescoes in Stanza della Segnatura (Vatican), 98 Galatea (Rome, Farnesina), 98 grace in life as well as in art, 97 landscapes of, 36 Life of (Vasari), 95-7 moral radiance of his presence (Vasari), 95 St Cecilia Altarpiece (Bologna, Pinacoteca), 93, 97, 127, 130 St John the Baptist (Florence, Uffizi), 2 School of Athens (Vatican, Stanza della Segnatura), 98 Self-portrait (?) (lost, formerly Cracow, Czartoryski Museum), 97-8, 205 and self-portraiture, 97 Sibyls (Rome, S. Maria della Pace), 98 Sistine Madonna (Dresden, Gemäldegalerie), 97 study of Michelangelo, 96 ratio (harmony), 80-1 regola (rule), 180 Reformation, the, 83 mistrust of the image in, 85 Rembrandt, as self-portraitist, 101 Ridolfi, Carlo, 169 Rome, 97 Forum, Temple of Castor and Pollux (drawing by Peruzzi; Florence, Uffizi), 110, 119 Forum of Augustus, Temple of Mars Ultor, capital (drawing by Peruzzi; Florence, Uffizi), 111, 120 Palazzetto Zuccaro, 21 Palazzo Massimo alle Colonne (Peruzzi), 111, 113 palazzo for Melchiore Baldassini (Antonio da Sangallo), 114 Pantheon, responses to, 114 Quirinal, Dioscuri, 148 ruins of, 15 S. Maria sopra Minerva, 149 threat of Turkish attack on, 20 Tomb of Annia Regilla, 111 war with Florence, ended 1480, 67 Rossetti, Biagio, 57 Rosso Fiorentino, 9, 93 Life of (Vasari), 95-6 Sabadino degli Arienti, Giovanni, see degli Arienti Salai, Giacomo, 100 Sansovino, Francesco Arte d'Amore, 46 Sansovino, Jacopo, 9, 93, 99-100 Sanudo, Marin, 166 Sarto, see Andrea del Sarto Savonarola, Girolamo, 1-2, 20, 33, 72 Scappuccio, Mario, 150 scherzo, 165 scientia (knowledge), painting as, 67 secca (dry; in Vasari), 35 Seneca, De beneficiis, 184-5 Serlio, Sebastiano, Treatise on architecture, 111 Sforza court in Milan, 32 240 INDEX Siena, 15 dam on River Bruna, near S. (drawings by Peruzzi), 112-13 Signorelli, Luca, 70, 93, 99 similitudine (lifelikeness; Savonarola), 33 Sleeping Eros (Roman, second-century AD; Oxford, Ashmolean Museum), 152, 161 Song of Songs, the, 138 species (appearance; Ficino), 68 Spinello Aretino, Life of (Vasari), 131 sprezzatura (in Castiglione), 98, 166-7 Strassburg, 83 Minster, 81 Strozzi, Alessandra, 47 Filippo, 47, 165 symmetria (commensurability of parts), 107 symmetry, 44 tagliente (hard, cutting; in Vasari), 35 Tasso, Torquato, 170-1, 201 Thanatos, winged, 152 Three Graces, the, see Graces, the Three Tintoretto, Jacopo, 10, 164, 167-8, 170 Adoration of the Magi (Venice, Scuola Grande di S. Rocco), 169 Baptism of Christ (Venice, Scuola Grande di S. Rocco), 169 Finding of the Body of St Mark (Milan, Brera), 168, 178 Moses Striking Water from the Rock (Venice, Scuola Grande di S. Rocco), 169 representations of an expanded universe, 169 Titian (Tiziano da Cadore), 10, 15, 164, 166-7, 17° Bacchanal of the Andrians (Madrid, Prado), 166 Crowning with Thorns (Munich, Alte Pinakothek), 168 Diana and Actaeon (Edinburgh, National Gallery of Scotland) 165 Diana and Callisto (Edinburgh, National Gallery of Scotland) 168, 176 Todi, 'Nicchione' in walls of (drawn by Peruzzi), 112, 121 Torrigiani, Luca, 184, 186 Tura, Cosme, 7, 32 Uccello, Paolo, 34-6 frescoes in Florence, S. Maria Novella, Chiostro Verde, 34-5 frescoes in Florence, S. Miniato al Monte, cloister, 34 landscapes of, 34-5, 37 Unhorsing of Bernardino della Carda (Florence, Uffizi), 35, 42 ugliness, cult of, 84 ape as symbol of, 152 denotes evil (Ficino), 154-5 in discordant or inappropriate behaviour (della Casa), 44 symbol of ultimate transcendence, 84 unione (harmony; in Vasari), 34, 182 Urbino, Duke of, visit to Murano, 166 utilitas (utility), 7, 107, 112 vaghezza (charm), 8, 36, 138-9 vanities, bonfires of the, 1, 11 Van Dyck, Anthony, Self-portrait with a Sunflower (Eaton Hall, Cheshire), 101 van Eyck, Jan, landscape vista of (described by Fazio), 33 oil technique of, 35 Varchi, Benedetto, Lezioni sull'Amore, 181 Libro della beltä e grazia, 193 Vari, Metello, 150 varietä (variety), 30, 179 Vasari, Giorgio, 66, 179-87, 193, 196 aesthetics of, 180, 184 on the artist as 'divine', 94 The Bacchanal (Saratov, Russia, Radiscev Museum of Fine Arts), 180, 185-6, 190 on bellezza, 124-6 on beauty, concept or theory of, 124-5, 18°' x$7, 191-2 and goodness, 181 and grace of style, 179 and grazia, 181-2 INDEX 241 (Vasari cont,) indicates divine grace, 99 and maniera, 182 physicality and spirituality of, 180 in small details, 192 condemnation of Northern gothic architecture, 8o-i, 87 criteria for assessing art, 180 criticism of, 7 on Francesco Francia, 93 on Giulio Romano, 95 on Giotto's Presentation in the Temple (Florence, S. Croce), 124 on grazia, 131 on leggiadria, 8, 126, 127, 131 on Leonardo da Vinci, 6, 74, 93-5 letter to Niccolö Vespucci, 183 Lives, 101, 179, T91 Prefaces (Proemi), 179-80 Second Preface, 182 Third Preface, 180, 182 on Francesco Melzi, 99-100 on Michelangelo, 99-100 Creation of Adam (Vatican, Sistine Chapel, ceiling), 125-6 lgnudi (Vatican, Sistine Chapel, ceiling), 126 Last fudgement (Vatican, Sistine Chapel), 201 Risen Christ (Rome, S. Maria sopra Minerva), 150 on movement, and beauty in movement, 127 and Neoplatonism, 184 on painted landscape, 34-5 on Parmigianino, 95-7, 134 on Piero di Cosimo, 19 on Pietro Perugino, 36 on Pontormo's Annunciation (Florence, S. Felicitä), 131 praise for commodity and Utility in architectural design, 114 on Raphael, 94-7, 100 on Rosso Fiorentino, 95 on Jacopo Sansovino, 99 on Luca Signorelli, 93, 99 on Spinello Aretino, 131 The Studio of Apelles (Florence, Casa Vasari), 181 The Studio of Zeuxis (Arezzo, Casa Vasari), 181 theory of genius of, 179-80 The Toilet of Venus (Stuttgart, Staatsgalerie), 9, 180-1, 183-6, 189 visually represents V.'s theory of beauty, 183 on Paolo Uccello, 34-6 Vatican, Sistine Chapel, frescoes by Perugino and others, 67 Vaucluse, landscape of, 4 Venice, 10, 15 Arsenal, 166 Biri Grande, house of Titian, 167 Grand Canal, 15 venustas (beauty), 7, 107, 112 Verona, encomium of, 195 Veronese, Paolo, 10 Feast at Cana (Paris, Louvre), 167 Verrocchio, Andrea, 6, 66-7 David (Florence, Bargello), 2 Vespucci, Niccolö, 183 Virgil, 29, 181 viriü, of Florence and the Florentines, 199-200, 202 Vision over Bamberg (woodcut), 25 Vitruvius De architectura, 7, 108 architectural theory of, 107, 110, 113 ideas on the hierarchy of the Orders, 112 theory of human proportions, 186 Vivarini, Antonio, 15 von Kaiserberg, Gailer, 85 von Strassburg, Gottfried, Tristan, 81-2 Wimpheling, Jacob, 81 Wise and Foolish Virgins, parable of (Matthew 25:1-13), 136 Wöllflin, Heinrich, 2-3, 7 Zeuxis, 69, 182 |
