| Volltext: | Index Numbers in italics refer to illustrations. Accademia fiorentina, 25, 29 accuracy: Lastman and, 156; poets and, 16 Achilles' shield, 12, 13 active role and masculinity, 92, 94 Acts of the Apostles, 157, 160 actual ekphrasis, 13, 224. See also description; ekphrasis advice of Aretino to Michelangelo and Titian, 136 Aeneas, 59, 140—41; shield of, 55 Aeneid (Virgil), 55, 108, 140-42 after-life, 207—9 aging self, 182-83, 184—85 Alberti, Leon Battista: immortality, 70; istoria, 25—26; location of Arcadia, 57; On Painting, 92; ut pictura poesis, 47—48 n. 16; vivacitä, 40 Alciati, Andrea: Emblemata, 114 Alicarnasso, Filonio, 89 Allori, Cristofano: Judith Holding the Head of Holofernes, 138—39 Alpers, Svetlana, 14, 182 Alva, Duke of, 115 ambiguity: Bruegel, 147, 148—49; pastoral, 73 ambivalence: of Michelangelo, 84, 95; and the narcissistic Idol, 180—94 Anacreontea, 136 analysis of writing, 226—27 Andromeda, 222 Angelica. See Ruggiero Delivering Angelica (Ingres) animal husbandry, 65 Annunciation (Titian), 67, 103 Apelles, 115, 120, 136, 160 Apio, 120 Apollo and Marsyas (Perugino), 60 Apollo, Temple of, 141 apostles. See Paul and Barnabas at Lys-tra (Lastman) appropriation: Fall of Icarus, 139; verbal, 136, 140 d'Aragona, Tullia, 138 Arcadia, 53, 56-58, 69, 72 Arcadia (Sannazaro), 53-74 Aretino, Pietro, 88, 102-21; advice to Michelangelo and Titian, 136; La Cortigiana, 103; Da "Le Carte Par-lanti", 103; Lo Ipocrito, 119; poetry over art, 137; praise for Titian and Colonna, 138; sibling rivalry in the arts, 133; Vocabolario degli Accademici della Crusca, 114, 116; as voice of Titian's portraits, 15 Ariosto, Lodovico: Orlando Furioso, 16, 214, 216-17; and Ovid, 222 Aristotle: influence on Petrarch, 106; knowledge of physiognomy, 119; Poetics, 47—48n. 16, 113; Politics, 60, 63 arrangement of figures, 198, 202 Ars Poetica (Horace), 40, 113 Artemis, 161, 163 artificiality, 188, 191 Art of Poetry (Horace), 40, 113 Asolani (Bembo), 62 "A Study of Metaphor" (Mooij), 196 Atri, Duke of, 114 Attavanti, Faustina Mancini, 80, 84 Auden, W. H.: Icarus and the fisherman, 144; indifference to suffering, 146—47; as model, 139 auditory perception of beauty, 105 Augustus as shepherd-god, 56 Aurora, 193 Bailly, David: Vanitas Still Life with Portrait of a Young Artist, 182—83, 183 Baldwin, Robert, 144 Barnabas. See Paul and Barnabas at Lys-tra (Lastman) 241 242 INDEX Barolsky, Paul, 134 Barozza, Elena, 106 battle of images, 210 Battle-Pieces (Melville), 225 battle scene in Titian, 103 beauty: of courtly ladies, 188—89, 191; Michelangelo and, 82—84, 89, 95; sonnets and, 105—6; spiritual vs. visual, 90—91; verbal portraits and, 110 Beccadelli, Lodovico, 106 "Beeldenstrijd" (Mooij), 210 beeldgedicht ("poem on painting"), 13 Bembo, Pietro: Aretino and, 107; Aso-lani, 62; asolare, 61; "better court", 64—65; dialogue in Ritratti (Tris-sino), 111 Bergmann, Emilie, 12 Bernard of Clairvaux, Saint, 31 Bildgedichten (Kranz), 139 Bildgedicht ("poem on painting"), 13 blood imagery, 92 Blue Wine (Hollander), 227 Boccaccio, Giovanni; Decameron, 114; titling of Dante's Comedy, 53 Bocchi, Francesco: assessment of the Pietä, 25; comparison with Silos, 43; Eccellenza del San Giorgio, 37, 39—40 body-soul metaphor, 190—91, 192, 193 Bolzani, Pierio Valeriano: Hieroglyph-ica, 114 bondage, 91 The Book of the Courtier (Castiglione), 77 n. 37 Booth, Edwin, 225 Borghini, Raffaello: Riposo, 106 Borghini, Vincenzo, 137 Bosch, Hieronymus, 196 Bottrall, Ronald, 145 Bracci, Cecchino, 80, 81, 82, 90 Brandi, Cesare, 61 Bronzino, Agnolo, 104, 137 brothers and gender in the arts, 134 Browning, Robert, 61 Bruegel, Pieter: The Fall of Icarus, 15, 131, 132, 139-49; irony and, 143, 146, 148 bucoliche elegantissime, Le, 64 bucolic vision, 56, 64. See also pasto-ralism Buonarroti, Michelangelo. See Michelangelo Butteri, Giovanmaria, 79 Caesar: portrait of, 116; as shepherd-god, 56 Camerarius, Joachim: Elementa rheto-rica, 13—14 Cappello, Vincenzo, 106, 108, 114 Cardano, Girolamo, 120 Carew, Thomas: comparison with Jon-son, 191, 192; "To the Painter", 190-92 Carracci, Annibale: Pietä, 36 Carrier, Constance, 146 Delia Casa, Giovanni, 106 Castiglione, Baldassar: "better court", 64; The Book of the Courtier, 77 n. 37; music and the working classes, 65-66 Catholicism: Vondel and, 165. See also Christianity Cato, portrait of, 116 Cavalieri, Tommaso de': Michelangelo drawings for, 79, 84—92; Michelangelo love of, 79, 88, 94; Michelangelo poems to, 83—84; portrait of, 80, 83 Caws, Mary Ann, 144 Cellini, Benvenuto: art over poetry, 137; Vita, 134 change, in For Ruggiero and Angelica by Ingres, 16, 215, 219 Charles V: Aretino letter to, 111—12, 114; Aretino sonnet on, 106; imaginary portrait of, 108, 119 Chastel, Andr6, 139 childlike essence, 117—18 chiromancy, 120 Du Choul, Guillaume: Discours de la Religion des anciens romains, 158 Christ: blood imagery, 92. See also Michelangelo Christianity: and indifference to suffering in Bruegel's Fall of Icarus, 143, 146—47; Michelangelo and, 84, 95; pastoralism and, 58; Paul and Barnabas at Lystra, 157, 165, 166 Cicero: and pastoralism, 58; sibling rivalry in the arts, 133; The Verrine Orations, 108 "Circle of Representations" (Hollander), 233 Clarice Strozzi (Titian), 117—18, 118 Clark, Kenneth, 59 INDEX 243 class divisions, 63-66 Claudel, Paul, 67 Clora, 193 Colonna, Vittoria: beauty and, 90, 95; masculinity and, 92; Michelangelo and, 79—80, 83, 89, 94; sonnet on Titian's Noli Me Tätigere, 138 colors: in painting, 103; Staalmeesters, 198, 202-3, 207 "Coming Storm, The" (Melville), 225 commerce (negotium), 63 compassio, 15, 31—33, 43 competition. See sibling rivalry in the arts; sister arts of poetry and painting composition, Lastman and, 156 Concert Champetre (Titian), 15, 53—78, 54 concetto, 27, 28; Aretino and, 102; ekphrastic despair and, 89; and portraiture, 116—21 concord, musical, 60 conflict: See also between pagan and Christian ritual, 157, 160; sibling rivalry in the arts, 15, 132—39; sister arts of poetry and painting Congrega dei Rozzi, 64 consanguinity, 132, 133 control, Michelangelo and, 84 copia, 156, 160 co-redemption, 31—33, 43 Corinthian Maid, The, (Wright), 186, 187 Cornaro, Benedetto, 108 Cortigiana, La, (Aretino), 103 Corvino, Alessandro, 119 countenance in portraiture, 119-20 courtly love, 15, 26—28; and attributes of the Virgin, 33—34; and narcissistic Idol, 186 Courtly Love: Woman with Captive's Heart (Anonymous), 26—28, 27 Cowley, Abraham: "My Picture", 184-85 creation and pastoralism, 69 creativity in pastoralism, 65, 70 cripple, 157, 160 crowds, 156, 157, 160, 166 culture, paintings as signs of, 210—11 "customary time", 62, 70—71 d'Adda, Agosto, 114 d'Avalos, Alfonso, 104 Da "Le Carte Parlanti" (Aretino), 103 Daedalus myth, 140—45 "Damon the Mower" (Marvell), 180-81 Daniello, Bernardino: Delia Poetica, 113 Dante, 25, 46 n. 7; Divine Comedy, 53, 116, 137; Paradiso, 92; pietä as enemy of death, 26; Vita Nuova (Dante), 26 da Vinci, Leonardo, 61, 91, 119, 133; Annunciation, 67; Virgin of the Rocks, 233 Dawn (Michelangelo), 44—45 n. 1 death: brought to life, 30; and courtly romance, 26, 28; opposition to liveliness, 40; in pastoralism, 58, 68; Staalmeesters and, 206, 208—9 Decameron (Boccaccio), 114 de Keyser, Thomas, 166 demonstratio, 110 Deposition (Vasari), 35 Descent from the Cross (van der Weyden), 31,33 description: importance of, 121; in Ruggiero Delivering Angelica, 217—19, 221; and verbal portraiture, 110—11, 113, 115. See also ekphrasis design as father of the visual arts, 134 despair: ekphrastic, 89 d'Este, Ippolito, 104 d'Este, Isabella, 111 d'Este, Lionello, 68 devotional image: pietä as, 42, 44 Dialogo delta pittura, intitolato I'Aretino (Dolce), 120 Dialogo dell'imprese militari e amorose (Gi-ovio), 114 Dictionarium Anglo-Britannicum (Kersey), 12 Digby, Venetia, 188—90 Dionysius of Halicarnassus, 55 Discours de la Religion des anciens romains (Du Choul), 158 discovery and pastoralism, 71, 73 distance in Titian's late paintings, 14 distancing: by Michelangelo, 83; by Mooij, 207 Divine Comedy (Dante), 53, 116; as in- 244 INDEX spiration for Michelangelo's Last Judgment, 137 Dobson, Rosemary: "Painter of Antwerp", 145 Dolce, Lodovico, 105; Dialogo delta pit-tura, intitolato I'Aretino, 120; LAretino, 137; sibling rivalry in the arts, 133, 134 Dolders, Arno, 11 Donne, John: comparison with Carew, 191; courtly lady, 186; "Phryne", 188 Doria, Andrea, 104 Drapers' Guild, 198, 199 drapery, allegorical, 227, 229—30 Due lezzioni (Varchi), 25, 26, 28; influence on Michelangelo, 80, 81 d'Urbino, Marcantonio, 115 Dürer, Albrecht: artist as male, 92; "The Knight, Death and the Devil", 225; Melencolia I, 13-14 durezza (hardness), 41-42 "dynamic ekphrasis", 219, 221 dynamism in Ruggiero Delivering Angelica, 216 Eakins, Thomas: William Rush and his Model, 16, 227—34,225; William Rush Carving His Allegorical Figure of the Schuylkill, 16, 227-34, 228 Eccellenza del San Giorgio (Bocchi), 37, 39-40 Ecclesia, 32 Echo, 189 Eclogues (Virgil), 56 economic status of art, 134, 136 education and pastoralism, 62, 63, 65 Eeghen, I. H. van, 198 Egan, Patricia, 74 ego, 73 Eikones (Lucian), 111, 136 ekphrasis, 11—16, 136, 210; actual, 13, 224; Auden and, 147; concetto and, 89; dynamic, 219, 221; Hollander, John, 91; Michelangelo and, 79—80; nature and, 235; notional, 13, 80, 112, 224; prosopopoeia as, 82—83, 91; representational, 13; Rossetti's sonnets, 214-22; sister arts and, 214, 215; static, 217—19, 220; as verbal portrait, 110 Elementa rhetorica (Camerarius), 13—14 Elogia virorum bellica virtute illustrium (Giovio), 104 "eloquent silence" 146; mute eloquence, 139, 146 Emblemata (Alciati), 114 enargeia (vividness), 17n. 6, 224 Entombment (Mantegna), 34 Epistulae ex Ponto (Ovid), 161—62, 164 epitaphs, 69, 71 erotic art, 84, 87—88, 135 escape and return. See exile and return in pastoralism essence, 102 Et in Arcadia Ego (Poussin), 72, 72-73 eulogies and the sister arts, 133 eulogizing and portraiture, 110, 114, 123 n. 29 "Eupheme 3. The Picture of Her Body" (Jonson), 188—89 "Eupheme 4. The Mind" (Jonson), 189 Euripides, 163; Iphigenia in Taurica, 161 evil as opposite of death, 28 exile and return in pastoralism, 58, 59, 70, 71-72 facial expression, 198, 199 facial features in portraiture, 119-20 Fairley, Irene, 148 The Fall of Icarus (Bruegel), 15, 131, 132, 139—49; irony and, 143, 146, 148 The Fall of Phaethon (Michelangelo), 84, 86 family and sibling rivalry in the arts, 134 famous people and portraiture, 103-4, 106 fathers and gender in the arts, 134 fear, ekphrastic, 83, 84 female, the: and the arts, 134, 138; Michelangelo and, 92, 94; as object, 92, 186; and portraiture, 110—11, 185— 94; as Titian's protagonist, 140 Ferrario, Giovan Bernardino, 108 Fete Champetre (Titian), 59, 74. See also Concert Champetre (Titian) Fhares, Alexander, 145 Ficino, Marsilio, 34 "Fictional Realities" (Mooij), 196 Firenzuola, Agnolo, 111 fisherman, 144 INDEX 245 Flemish art, Michelangelo's scorn for, 90 Florence, pastoralism and, 63, 67 "For Ruggiero and Angelica by Ingres" (Rossetti), 16, 214-22 fragility and the narcissistic Idol, 180-90 Francesco Maria della Rovere, Duke of Ur-bino (Titian), 116—18, 117 Freedberg, Sidney J.: detachment of the visual, 139; Giorgione's style, 61; memory over presence, 69; titling of Pastorale, 76 n. 21 Freedman, Luba, 15, 102—27 Fried, Michael, 229 funeral procession, 206, 208 Galatea, 191 Galateo, II, (Della Casa), 106 Galeria, La, (Marino), 41—42, 138 "Gallery, The" (Marveil), 193 Gallus, 56 Gambara, Veronica, 116 Ganymede. See The Rape of Ganymede (Michelangelo) Gaurico, Pomponio, 119 gaze: "masculine", 92, 94 gender, 134, 135, 140 Georgics (Virgil), 56, 65 G6r6me, Jean-Leon: Pygmalion and Galatea, 231 Gerson, Horst, 200, 204 gestures: in portraiture, 102, 119; rhetorical, 136-39 Gifford, Sanford R., 225 Gilman, Ernest, 141 Ginzburg, Carlo, 54 Giorgione, II: Concert Champetre, 75n. 6, 76 n. 21; as impersonation of Venice, 73; power of words, 62; "The School of Giorgione" (Pater), 68; Sleeping Venus, 69; tono in pastorals, 61 Giovio, Paolo: Aretino letter to, 109; Dialogo dell'imprese militari e amorose, 114; museum of portraits, 103-4 Giustinian, Leonardo, 66 Golahny, Amy, 11-18, 154-78 Goldin, Frederick, 186 Gonzaga, Eleonora, 106 Gonzaga, Federico, Duke of Mantua, 104 good, as courtly opposite of pietä, 28 Greece as site of Arcadia, 53, 57 Greek Anthology, 136 Greeks. See also myths; in Tauris, 161-65 Greene, Thomas, 68 Grondt der edel vrij schilderconst, Den, (van Mander), 156 Guarino of Verona, 60, 68 guilt, 84 Hagstrum, Jean, 11, 12, 23 Hamburger, Michael, 145 Handbook of Poetic Terms, 12 hardness (durezza), 41—42 "harmonic time", 62, 70—71 harmony: music and the pastoral, 60, 71; in the sister arts, 131-33, 134 Hartman, Geoffrey, 57 Hartt, Frederick: titling of Concert Champetre, 76 n. 21 Haskell, Francis, 59 Hawinkels, P. H. H.: "Jheronymus Bosch", 196 Heffernan, James, 13, 91 Herodotus: Histories, 162 Hesiod: Theogony, 65 "Het rode Kleed" (Mooj), 205—7 Het Schilderboeck (van Mander), 156 Hieroglyphica (Bolzani), 114 hippogriff, 216, 218 Histories (Herodotus), 162 Hollanda, Francisco de, 90, 133 Hollander, John, 224—37; Blue Wine, 227; on Bruegel's Fall of Icarus, 146; ekphrasis, 91; notional ekphrasis, 13, 80, 224; "A Statue of Something", 16, 227—35; titology, 53, 66-67 Holofernes, 138—39 Homer: Achilles' shield, 12, 13; leisure, 63 homoerotic art, 84, 87-88 hope: ekphrastic, 83 Horace: Ars Poetica (Art of Poetry), 40, 113; Seventh Epistle, 71; sibling rivalry in the arts, 133; ut pictura poesis, 11, 54 Houbraken, Arnold: biography of Lastman, 168; Instruments for a Roman Sacrifice, 167 Hulft, Gerard, 164 246 INDEX Hülse, Clark, 11; The Rule of Art, 132 Humanism and the pastoral, 54, 55, 57, 58, 64, 67 hunt, imagery of the, 210, 211 hyperbole, 105, 107—9 Hypnerotomachia Poliphili (Anonymous), 34, 36, 39 Icarus. See The Fall of Icarus (Bruegel) iconic poetry, 12, 23, 44 iconinvidia. See image envy (iconinvidia) iconographic imagery, 132, 139, 225 idealization and the narcissistic Idol, 179-94 idea vs. concetto, 116 identity: in Iphigenia and Lystra, 166; narcissistic, 180, 185, 189—90; sexual, 13; of sitters in Slaalmeesters, 198 idol. See narcissistic Idol image envy (iconinvidia), 15, 132, 135, 136, 140 imagery: ekphrasis and, 14 imaginary portraits, 110—11, 192, 193 Immaculate Conception doctrine, 31 immortality, 58, 68—70, 208 "imperialism" of language, 141 indifference: ekphrastic, 83, 89; to suffering, 149 inferiority of the visual to the literary, 136 Ingres, Jean Auguste Dominique: Ruggiero Delivering Angelica, 16, 214-22, 215 Institutio Oratorio (Quintilian), 108 Instruments for a Roman Sacrifice (Hou-braken), 167 intellectuals in Arcadia, 63, 65 intention in writing, 226 interarts discourse, 11—18. See also sister arts of poetry and painting interpretation: ekphrasis; the model and, 234—35; shift in, 224; and tradition, 198; of visual work, 136. See also; Iphigenia, 161—64 Iphigenia, Orestes and Pylades (Lastman), 15, 154—57, 155, 161—63; comparison with Lystra, 165—68 Iphigenia in Taurica (Euripides), 161 Ipocrito, Lo, (Aretino), 119 irony: in The Fall of Icarus, 143, 146, 148; in portraiture, 183 Isaak, J. A., 200 Isabella, Empress, 110—11 isomorphism, 148 istoria, 26, 139, 140. See also Alberti, Leon Battista James, Henry, 73 James, Liz, 12 Jansz, Volckert, 200, 202 Jarrell, Randall: "The Knight, Death and the Devil", 225 "Jheronymus Bosch" (Hawinkels), 196 Johanna Grey (Oudaan), 164 John of Garland, 65 Johnson, Richard, 147 St. John the Baptist (Titian), 103 Jonckheere, Wilfred, 16, 196—213 Jonson, Ben: comparison with Carew, 191, 192; courtly lady, 186; "Eu-pheme 3. The Picture of Her Body", 188—89; "Eupheme 4. The Mind", 189; "My Picture Left in Scotland", 183-84 Judith Holding the Head of Holofernes (Allori), 138-39 Juniper, 84 Juno, Temple of, 140, 141 Jupiter, Barnabas as, 157, 160 Keats, John: "Ode on a Grecian Urn", 215, 220 Kermode, Frank, 69 Kersey, John: Dictionarium Anglo- Britannicum, 12 "Knight, Death and the Devil, The" (Dürer), 225 "Knight, Death and the Devil, The" (Jarrell), 225 knowledge of the work of art, 224-26 Korteweg, Anton, 196 Kranz, Gisbert: Bildgedichten, 139 Krieger, Murray, 12, 215 lady. See also courtly love; as narcissistic Idol, 184-94 lamentation imagery, 31, 32, 36 language and the pastoral, 69, 71 Last Judgment, The, (Michelangelo), 14, 88, 137 INDEX 247 Lastman, Pieter, 154-74; Iphigenia, Orestes and Pylades, 15, 154, 155, 156—57, 161—63; Paul and Barnabas at Lystra, 15, 154, 155, 156—57, 157-59, 159-60 "Lastmans Offerstaatsie van Lystren" (Vondel), 159-60, 166, 168-71 "Lastmans Offer-Stryd" (Oudaan), 163-65, 171-74 laudatio, 133 learning and pastoralism, 58, 62-63. See also education and pastoralism Lebrun, Charles, 59 Lee, R. W., 11 leisure (otium), 63, 65 Leonardo da Vinci. See da Vinci, Leonardo Lessing, Gotthold Ephraim, 146, 215, 222 letters of Aretino, 114—15, 121; and hyperbole, 108—9 Libro dei sogni (Lomazzo), 116 lifelikeness, 112, 183, 197, 198 life over death: "Gezichten op 'Gezicht op Delft'", 209; "Het rode kleed", 206; Muses and, 68 light effects, 198 likeness in portraiture, 102; Aretino and, 108; Titian and, 109, 115 liveliness: as primary goal of artistic activity, 29; Rembrandt and, 197, 202, 208; of the Virgin, 43; vivac-itä, 39—40 Lives (Vasari), 14, 134 living stone, 23—44 Livy, 55 locus: Arcadia as, 68; in pastoralism, 59, 73-74 "Löf der Schilderkunst" (Mooii), 209-10 Lomazzo, Giovan Paolo: art over poetry, 137, 139; comparison with Silos, 43; on concetto, 116; Libro dei sogni, 116; Pietä assessment, 25; sibling rivalry of the arts, 133; Trattato dell'arte della pittura, 37, 40—41, 116 "looking away", 146 love: as metaphor for sculpture process, 25—28; courtly, 15, 26—28, 33—34, 186; for others, 166; Michelangelo and, 79-80, 88, 94; poetry and portraiture, 105-6; poetry of Michelangelo, 83-84; Venus and, 69, 230 Lovelace, Richard: "Upon the Curtain of Lucasta's Picture It Was Thus Wrought", 192-93 Lucasta, 192 Lucian, 12; Eikones (A Portrait Study), 111, 136 Luther, Martin, 34 Lycoris, 56 Lystra. See Paul and Barnabas at Lystra (Lastman) Macro, Vicentio, 111 madrigal style, 29, 33 maggioranza (preeminence), 135, 137 Maiorino, Giancarlo, 15, 53-78 Mancini, Faustina, 80, 84 Mander, Carel van, 156—57, 165; Den Grondt der edel vrij schilderconst, 156, 157; Het Schilderboeck, 156 Manet, Edouard, 55 Mannerist style, 134, 135, 137, 139 Mantegna, Andrea, 67; Entombment, 34 Mantua: Federico Gonzaga, Duke of, 104; as site of Arcadia, 53, 55 Marcolini, Francesco, 105 Marek, Michaela J., 12 Maria Stuart (Vondel), 164 Marin, Louis, 73 Marino, Giambattista, 14, 23; Judith Holding the Head of Holofernes (Al-lori), 138—39; La Galeria, 41—42, 138; Michelangelo, 15, 23; sibling rivalry in the arts, 133, 137—38 Maritain, Rai'ssa, 145 Markiewicz, Henryk, 11 Martini, Simone, 105—6 Martyrdom of St. Peter Martyr (Titian), 103 Marvell, Andrew: "Damon the Mower", 180—81; narcissistic Idol and, 185; "The Gallery", 193 Mary. See Virgin Mary with the signs of her compassio (Anonymous), 32, 38 masculinity of Vittoria Colonna, 92 Massola, Isabetta, 106, 119 Mater Dei, 31—32 materiality and the narcissistic Idol, 179-94 248 INDEX McCaffrey, Phillip, 15—16, 179—95 Medea (Six), 159 Medici, Cosimo I de', 104 Medici, Ippolito de', 88 Medici Madonna (Michelangelo), 44 medium, failure of the visual, 188-89, 192 "Meester en knecht" (Mooij), 203—5 Meleager, 26, 40 Melencolia I (Dürer), 13—14 Melville, Herman: Battle-Pieces, 225; "The Coming Storm", 225 memory: and pastoralism, 67, 69; preservation of the living, 82 Mendelson, Edward, 147 Mendoza, Diego Hurtado de, 106, 115 Mercury, Paul as, 157, 160 Metamorphoses (Ovid), 140, 141, 142, 179, 180 Metoposcopia (Cardano), 120 metoposcopy, 120 Metsys, Quentin: Pietä, 37 Michael, William, 221 Michelangelo, 23—44, 79—96; Aretino and, 107—8, 136; Dante and, 137; Dawn, 44—45n. 1; The Fall of Phae-thon, 84, 86; The Last Judgment, 14, 88, 137; Medici Madonna, 44; Moses, 44—45 n. 1; Night, 39, 44—45n. 1, 96n.2; Pietä (Drawing, Gardner), 88, 92, 93; Pietä (Vatican), 15, 23—44, 24; poetry of, 15, 27-28, 79-96; The Punishment of Tityos, 84, 87, 91, 94; The Rape of Ganymede, 84, 85, 88, 89, 91; sibling rivalry of the arts, 137; Times of Day, 44; Tomb of Cecchino Bracci, 81 Mierevelt, Michiel van, 163 military terminology, 206, 208 Mirandola, Pico della, 34 Mirollo, James V., 15, 131—53 Mirror Dynamic: courtly lady and, 186, 188, 192; inversion of, 193; narcissistic Idol and, 179, 180, 192; self and reflection, 16; youth and aging, 185 misreading the visual text, 136, 140, 141, 145 Mitchell, W. J. T.: ekphrastic poetry, 215; emotions and ekphrasis, 83, 89; reader-viewer as the Other, 13 Mnemosyne, 69 models: interpretation and, 234—35; and nudity, 229—30 modernity and pastoralism, 69—70, 74 Molino, Niccolö, 114 Monet, Claude, 211 Montemayor, Jorge, 55 Mooij, J. J. A.: "Beeldenstrijd", 210; "Fictional Realities", 196; "Gezich-ten op 'Gezicht op Delft'", 209; "De Wereld der waarden", 196; "Löf der Schilderkunst", 209-10; "Meester en knecht", 203—5; "Naleven", 207—9; "De opdrachtgever", 198— 201; and Rembrandt's Staalmeesters, 16; "Het rode kleed", 205—7; De Ru-imte van de tijd, 211; "Schijn en weerschijn", 201—3; "A Study of Metaphor", 196; "Tekens aan de wand", 196; "Tekst en lezer", 196 Moses (Michelangelo), 44—45 n. 1 Mother Nature. See nature mothers, and gender in the arts, 134 movement: bodily, 40-41; in Ruggiero Delivering Angelica, 217—20 Muses, 69—70, 72—74, 79; female gender of, 134; immortality and, 58, 68—70; and the intellectual otium, 65; and music, 60, 63; pouring water, 60, 62, 66-67, 70; Sicilian, 56 music in Concert Champetre, 59—62, 66 mute eloquence, 139, 146 mute poetry, 114—15; Plutarch, 11, 113 "My Picture" (Cowley), 184-85 myths: in pastoralism, 57, 59—74; and reality, 140 nakedness: of Angelica, 216—18, 221; vs. nudity, 229 "Naleven" (Mooij), 207—9 Naples as site of Arcadia, 53, 55, 56, 57 narcissistic Idol, 179—94 "Narcissus as Narcissus" (Tate), 226 narrativization of Ruggiero Delivering Angelica, 216-17, 219-20, 221, 222 Natural History (Pliny), 120 naturalism: mythological, 70 nature: and ekphrasis, 235; Lastman guided by, 160; sibling rivalry in the arts and, 133; sister arts and, 138; Titian and, 108, 109 INDEX 249 negative vs. positive aspects of the Idol, 184, 185, 191, 192 negotium (commerce), 63 Neoplatonism: beauty and, 89-90, 95; Michelangelo and, 80, 82 Nero: portrait of, 116 New Princeton Encyclopedia of Poetry and Poetics, 12—13 Night (Michelangelo), 39, 44-45 n. 1, 96 n. 2 notional ekphrasis. Aretino and, 112; Hollander and, 13, 80, 224. See also ekphrasis nudity. See also nakedness; of models, 229—30; of the Muses, 69, 70 object: female as, 92, 186; material, 179-80, 186; painting as, 224; self-object, 179 "Ode on a Grecian Urn" (Keats), 215, 220 "Ode to the Confederate Dead" (Tate), 226 On Painting (Alberti), 92 "opdrachtgever, De" (Mooij), 198-201 ore. See sea monster in Ruggiero Delivering Angelica Orestes, 161—64, 166 Origin of Painting, The, (Sandrart), 186, 187 Orlando Furioso (Ariosto), 16, 214, 216-17 Other, the,: and pastoralism, 55, 72; pastorale, La (Ruzante), 64 pastoralism and, 70; reader-viewer as, 13 otium (leisure), 63, 65 Oudaan, Joachim, 154; comparison with Vondel, 165—68; Johanna Grey, 164; "Lastmans Offer-Stryd", 163—65, 171—74; Roomse Mogen-theid, 166 Ovid, 34, 55—56; Epistulae ex Ponto, 161-62, 164; and fragility, 188; Metamorphoses, 140, 179, 180; myth of Icarus, 140—42; myth of Perseus and Andromeda, 222; narcissistic Idol and, 185 Oxford Classical Dictionary, The, 12 pagan rites: Iphigenia, Orestes and Py-lades (Lastman), 162; Paul and Barnabas at Lystra (Lastman), 157, 160, 163 "Painter of Antwerp" (Dobson), 145 Palmieri, Matteo: Vita civile, 67 Pan, 53 panegyric, 108-9, 111-12 Panofsky, Erwin, 225 Paradiso (Dante), 92 paragone, 25, 29; as example of rhetorical skill, 136; and sister arts of poetry and painting, 132 Parnassus (Raphael), 66 Parrhasius, 107 the Passion, 42 passioni, 29 passions of Michelangelo, 84 passivity of the female, 92, 94 Pastorale (Titian), 76 n. 21 pastoralism, 15, 53—74 pastor bonus, 65 pastor felix, 65 Pater, Walter, 73; "The School of Gior-gione" (Pater), 68 pathos, 145 Paul and Barnabas at Lystra (Lastman), 15, 154, 155, 156—59; comparison with Iphigenia (Lastman), 165—68; pagan rites, 157, 160, 163 Paul and Barnabas at Lystra (Raphael), 157, 158 Pelagus, 53 pendant paintings, 154—74 pendant poems, 163, 216 Perdix, 142, 144 perfection, beauty and, 90 Perseus, 222 Perugino, 60 Petrarch: concetto and, 116; facial features and, 120; pastoralism and, 58; and sonnets on portraits, 105—6; Strozzi's form and content, 33 Petrarchism, 138 Phaedrus (Plato), 71 Phaeton, 84, 86 Philip II, 106, 119 Philostratus, 136 Phoebus Apollo, 84 "Phryne" (Donne), 188 physical beauty, 90-91, 95 physical contrast, 181, 182 250 INDEX physiognomy: Lastman and, 156-57; in portraiture, 119—20 "My Picture Left in Scotland" (Jon-son), 183-84 Pietä (Carracci), 36 Pietä (Metsys), 37 Pietä (Michelangelo). See Michelangelo pietä (pity): courtly, 26-28, 41-42; enlivening metaphor, 29, 30—34, 36; and suffering, 43 Pinacotheca sive Romana Pictura et Scul-ptura (Silos), 43—44 Pino, Paolo: Dialogo di pittura, 119 pity. See pietä (pity) place in pastoralism. See locus planctus Mariae, 31—32 Plato: influence on Petrarch, 106; Phaedrus, 71; Politics, 63. See also Neoplatonism; player-teacher. See teacher, in Concert Champetre Pliny, 82, 107; Natural History, 120 plowman, 143-44 pluralism, 70 Plutarch, 11, 113, 133 "poem on painting" (Bildgedicht), 13 poesia as genre of painting, 59, 140 Delia Poetica (Daniello), 113 Poetics (Aristotle), 47—48 n. 16, 113 poetry: of Michelangelo, 79—96; portraiture, 105—7. See also sonnets Poggio, Febo di, 84 Polia, 34, 36 Poliphilo, 34 Politics (Aristotle), 60, 63 politics of the sister arts, 133 Pollio, 56 Polyclitus, 105 Pontormo, Jacopo del, 137 Poortenaar, J., 203, 207 A Portrait Study (Lucian), 111 portraiture, 15—16, 79—95; narcissism and self-portraits, 179-94; of Titian, 102-21 pose in portraiture, 102 positioning of figures, 198, 202 positive vs. nega,.' aspects of the Idol, 184, 185, 191, 192 posture: Lastman and, 156—57; in Staalmeesters, 199 Poussin, Nicolas: Et in Acadia Ego, 72, 72-73 power of visual media, 88—89 praise: as appropriative gesture, 136; Aretino and, 138; Auden and, 147; Michelangelo and, 82—83 preeminence (maggioranza), 135, 137 "pregnant moment", 216 Priscianese, Francesco, 119 prisoner: Michelangelo as prisoner of love, 94; in Staalmeesters, 208, 209 prosopopoeia, 82—83, 91 psychological rivalry of painting and poetry, 134, 135, 193 psychological self and narcissistic Idol, 16,179-82 Punishment of Tityos, The, (Michelangelo), 84, 87, 91; Michelangelo as prisoner of love, 94 puppets in Staalmeesters, 202, 205 Pygmalion and Galatea (Geröme), 231 Pygmalion myth, 191, 231, 234 Pylades, 161-63, 163-64, 166 Quintilian: hyperbole, 109; inferiority of the visual arts, 136; Institutio Ora-toria, 108, 135 Quirini, Elisabetta, 106 Randolph, Thomas: comparison with Bailly, 182—83; comparison with Cowley, 184; comparison with Jon-son, 183—84; "Upon His Picture", 181-82 Rape of Ganymede, The, (Michelangelo), 85; as confession of homosexuality, 84, 88; ekphrastic indifference, 89; as portrait of Michelangelo and Cav-alieri, 91 Raphael: Parnassus, 66; Paul and Barnabas at Lystra, 158; portrait of Teb-aldeo, 114; Sistine Chapel tapestry, 157-59 reader. See viewer reality: in Bruegel and Titian, 140; and pastoralism, 69—70; and Staalmeesters, 199, 209 redemption, 15, 31—33, 43 reflection: narcissism and, 16, 179—85 regenerative powers, 30—33, 44 Regole generali di architettura sopra le INDEX 251 cinque moniere de gli edifici (Serlio), 108 rejuvenation, 15, 33—34 relativization of Mooij, 201 Rembrandt: Lastman as teacher of, 156; Six as patron of, 159; Staalmees-ters (Syndics of the Drapers' Guild), 16, 197, 197-211 representation: dialectical complexities of, 224; ekphrasis and, 13; meanings of, 232-35 rescue in Rossetti's sonnets, 214-22 Retorica, La, (Sansovino), 109 return and exile. See exile and return in pastoralism rhetoric: humanist, 108—9; popularity of, 105; rules of, 14 Riccio, Luigi del, 80 Riffaterre, Michael, 143, 147 Riposo (R. Borghini), 106 Rischin, Abigail S., 16, 214-23 Ritratti (Trissino), 111 rivalry: and "looking away", 146. See also sibling rivalry in the arts romance. See courtly love; love Roman civilization, 157, 165 Roman Emperors (Titian), 104 Rome and Arcadian pastoralism, 55 Roomse Mogentheid (Oudaan), 166 Rosand, David, 17n. 4, 61 Rosenberg, Jacob, 197, 204 Rossetti, Dante Gabriel: form of the sonnet, 14, 233; "For Ruggiero and Angelica by Ingres", 16, 214-22; "Sonnets for Pictures", 214; A Venetian Pastoral, 74 Rudolph, Emperor, 136 Ruggiero Delivering Angelica (Ingres), 16, 214-22, 215 Ruimte van de tijd, De, (Mooij), 211 Rule of Art, The, (Hülse), 132 Rush, William, 227, 229-31 Ruzante (Angelo Bealco): La pastorale, 64 Sacred and Profane Love (Titian), 67, 229-30 sacrifice: Iphigenia, Orestes and Pylades (Lastman), 161—63; "Lastmans Of-ferstaatsie van Lystren" (Vondel), 159—60; "Lastmans Offer-Stryd" (Oudaan), 164; Paul and Barnabas at Lystra (Lastman), 158, 160, 165, 166; on relief sculpture, 158 Sandrart, Joachim von, 159; The Origin of Painting, 186, 187 Sandys, George, 184 Sannazaro, Jacopo: Arcadia, 15, 53—74 Sansovino, Francesco, 102; La Retorica, 109 sarcophagus images, 58, 60, 66—71, 158; Bracci epitaphs, 82 Saslow, James M., 15, 79—101 Schendel, A. van, 202 "Schijn en weerschijn" (Mooij), 201—3 "schimmen" (ghostly appearances), 200-201 Schmidt-Degener, F., 199 schole: as bucolic leisure, 63 "School of Giorgione, The" (Pater), 68 Schuylkill river, 227, 231 Schwartz, Gary, 200 Scot, Michael, 119 Scott, Grant, 210 sculpture: as living stone, 25—29 scythe: as symbol of Time, 181 sea monster: in Ruggiero Delivering Angelica, 216—18; slaying of, 220—22 self-object, 179 self-portraits; Michelangelo, 89, 91— 92; narcissism and, 179—94 semantics, 23 semiotics: visual, 148 Senn, W., 210 sensuality of Michelangelo, 83—84 Serenissima (Venice), 63, 73 Serlio, Sebastiano: Regole generali di ar-chitettura sopra le cinque moniere de gli edifici, 108 servant in "Meester en knecht", 205 Servius, 65 Seventh Epistle (Horace), 71 sexual identity, 180 sexuality: and homoerotic art, 84, 87-88 shadow, 179-94, 232-33 shapes: in Staalmeesters, 202—3 Shepheardes Calender, The (Spenser), 232 shepherd-gods, 56 shepherds in Renaissance pastorals, 58 sibling rivalry: in the arts, 15, 132—39. 252 INDEX See also sister arts of poetry and painting Sibyl, the, 141 Sicily: as site of Arcadia, 53, 55, 56 Sidney, Philip, 55 silence. See mute eloquence; mute poetry Silos, Ioanne Michaele, 42—44; Michelangelo, 15, 23; Pinacotheca sive Romana Pictura et Sculptura, 43—44 Simonides, 11, 113, 133 Simson, Otto von, 31 sin: Michelangelo and, 84, 87 sister arts of poetry and painting, 113; conflict in, 131—39, 210; ekphrastic poetry and, 214, 215 Sistine Chapel: Last Judgment (Michelangelo), 14, 88, 137; Raphael tapestry, 157-59 Six, Jan: Medea, 159; as owner of Iphi-genia, 165; as owner of Lystra, 159; as patron of Rembrandt, 159 skiagraphia, 232 Sleeping Venus (Giorgione), 69 Smick, Rebekah, 15, 23—52 social status of art, 134, 136 sonnets: Aretino and, 105—7, 109; form of, 14, 233; sonnet cycle, 196— 211; and Titians' portraits, 113—15, 121 "Sonnets for Pictures" (Rossetti), 214 soul: shadow as, 179; soul-body metaphor, 190-91, 192, 193 sound. See voice space: painting and, 215—16, 218; poetry as extension of, 13 space of time, 211 Spagnoli, Battista, 65 speaking pictures, 11, 113. See also voice spectator. See viewer Spenser, Edmund: The Shepheardes Calender, 232 Speroni, Sperone, 138 spiritual beauty, 90-91, 95 Staalmeesters (Syndics of the Drapers' Guild) (Rembrandt), 16, 197, 197-211 "standing for" 233 "static ekphrasis" 217-19, 220 "Statue of Something, A" (Hollander), 16, 227-35 Steinberg, Leo, 231 Steiner, Wendy, 17n. 14, 144, 148; ekphrastic poetry, 215; "pregnant moment", 216 Strozzi il Vecchio, Giovanni Battista: Michelangelo, 15, 23, 29—37; Night (Michelangelo), 96n.2 structuralism, 45 n. 4, 148 studiolo, 58, 68 "substance": "shadow" and, 232-33 suffering: indifference to, 149 superlatives in portraiture, 108 Syndics of the Drapers' Guild (Staalmeesters) (Rembrandt), 197, 197-211 tapestry: of Sistine Chapel, 157—59 Tate, Allen: "Narcissus as Narcissus", 226; "Ode to the Confederate Dead", 226 Tauris, 161—65 teacher: in Concert Champetre, 60, 62, 63, 64 Tebaldeo, 114 "Tekens aan de wand" (Mooij), 196 "Tekst en lezer" (Mooij), 196 temporality. See also time; Ruggiero Delivering Angelica, 216, 219—22 Theocritus, 54, 55, 58, 66 Tkeogony (Hesiod), 65 time: harmonic vs. customary, 62, 70— 71; and the narcissistic Idol, 181— 82; poetry and, 13, 16, 215—16; space of, 211 timelessness of Rembrandt, 203 Times of Day (Michelangelo), 44 Titian: Aretino and, 15, 102—21, 136, 138; Clarice Strozzi (Titian), 117—18, 118; comparison with Bruegel, 146; Concert Champetre, 15, 53—78, 54; Francesco Maria della Rovere, Duke of Urbino, 116, 117, 118; painting for Federico Gonzaga, 104; portraiture, 102—21; Roman Emperors, 104; Sacred and Profane Love, 67, 229—30; Venus and the Lute Player, 140 titology, 53-74 Tityos. See The Punishment ofTityos (Michelangelo) tomb images. See sarcophagus images INDEX 253 Tomb of Cecchino Bracci (Michelangelo and Workshop), 81 tono (tonality), 61 Tornabuoni, Giovanna, 91 "To the Painter" (Carew), 190—92 tradition: of instruction, 13; in pasto-ralism, 59, 67, 69; Rembrandt and, 197, 198 Trattato dett'arte della pittura, scoltura et architettura (Lomazzo), 37, 40-41, 116 Trissino, Giovan Giorgio: Ritratti, 111 Trojan War, 140, 141 "Upon the Curtain of Lucasta's Picture It Was Thus Wrought" (Lovelace), 192-93 urban setting and pastoralism, 56, 57 Urbino, Duchess of, 120 Urbino, Francesco Maria della Rovere, Duke of, 116-18, 120 urn image, 68, 69, 72, 73 usury: in art, 89—90 ut pictura poesis: Horace and, 11, 54, 133; Lomazzo and, 40; Marino and, 42; meaning of, 45-46n. 7; Michelangelo and, 79, 80; Mooij and, 209; narcissistic Idol and, 193; Varchi and, 25, 28-29, 36-37, 44 Vanitas Still Life with Portrait of a Young Artist (Bailly), 182-83, 183 Vanuxem, Luisa, 227 Van Vianen family, 159 Varchi, Benedetto, 15, 25—29, 36, 105; comparison with Bocchi, 37, 39—40; comparison with Lomazzo, 41; comparison with Strozzi, 30; on concetto, 116; Due lezzioni, 25, 26, 28, 80, 81; Marino's debt to, 41; sibling rivalry in the arts, 134—35, 137 Vargas, Francisco, 106, 107, 109, 115 varietas, 156, 160 Varro, 55 Vasari, Giorgio: biographies of artists, 14; Deposition, 35; Lives, 14, 134; Michelangelo and, 80, 82, 83, 95; promotion of Strozzi, 29; Titian and, 102, 106 Vatican Pietä. See Michelangelo Vellutello, Alessandro, 106 "Venetian" context of pastoralism, 64, 68-70 Venetian Pastoral, A, (Rossetti), 74 Venice: Aretino in, 102; pastoralism and, 73 ventriloquism, 136, 139, 146 Venus: Clora as, 193; clothed vs. nude, 230; Sleeping Venus (Giorgione), 69 Venus and the Lute Player (Titian), 140 verbal appropriation, 136, 140 verbal image. See voice verbal portraiture, 110—12 verisimilitude, 102 Vermeer, Johannes: View of Delft, 197, 209, 211 Verrine Orations (Cicero), 108 Vico, Giambattista, 57 victory in Iphigenia and Lystra, 166 viewer: focus transferred from image to, 44; Mooij's sonnet cycle and, 198—209; reader-viewer as the Other, 13; relationship with the viewed, 95; as witness, 143 View of Delft (Vermeer), 197, 209, 211 Virgil: Aeneid, 55, 108, 140—42; Eclogues, 56; Georgics, 56, 65; pastoralism and, 55—56, 58, 59; titology, 53-54 Virgin: grieving, 92; regenerative powers of, 30—33; as true subject, 43. See also Michelangelo Virgin of the Rocks (da Vinci), 233 visual medium. See also voice; inadequacy of, 188—89; vs. sound medium, 184, 192 visual semiotics, 148 Vita (Cellini), 134 Vita civile (Palmieri), 67 Vita Nuova (Dante), 26 Vitruvius, 70 vivacitä (liveliness), 39—40. See also liveliness vividness (enargeiaj, 17n. 6, 224 Vocabolario degli Accademici della Crusca (Aretino), 114, 116 voice: and ekphrastic poems, 12, 13, 82, 83, 91; of Titians' portraits, 113— 15; vs. visual image, 184, 185, 189, 192 voicelessness, 135, 139. See also mute eloquence; mute poetry 254 INDEX Vondel, Joost van den: "Lastmans Of-ferstaatsie van Lystren", 159—60, 168—71; Maria Stuart, 164; Oudaan and, 163—65, 165—68; Sandrart and, 159; translation of Euripides, 161-62 Waal, Henri van de, 199—200, 201, 204 Watteau, Jean Antoine, 55 wave effect metaphor, 204, 207 Webb, Ruth, 12 Weisstein, Ulrich, 11, 144 "Wereld der waarden, De" (Mooij), 196 Weyden, Rogier van der, 31; Descent from the Cross (van der Weyden), 31, 33 William Rush and his Model (Eakins), 16, 227-34, 228 William Rush Carving His Allegorical Figure of the Schuylkill (Eakins), 16, 227-34, 228 Williams, William Carlos, 146, 147—49 Winckelmann, Johann Joachim, 66 Wolf, Reinier van der, 163, 164, 165 Woman with Captive's Heart (Anonymous), 26—28, 27 women, portraits of, 185—94. See also the female Wright, Joseph: The Corinthian Maid, 186, 187 X-rays of Staalmeesters, 200 Yeats, William Butler, 179, 180 youthful self, 182-83, 184-85 Zuccaro, Federico: art over poetry, 137, 138, 139; gender in the arts, 134 |
