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List of illustrations

  • Cardinal Bandinello Sauli, His Secretary, and Two Geographers
  • Cardinal Bandinello Sauli, His Secretary, and Two Geographers, detail
  • St. Jerome in the Wilderness
  • St. Jerome Reading in a Landscape
  • St. Jerome in the Wilderness
  • St. Jerome in the Wilderness
  • The Penitent St. Jerome
  • Colleoni Martinengo Altarpiece
  • The Stoning of St. Stephen
  • St. Lucy Altarpiece
  • St. Nicholas in Glory with Sts. John the Baptist and Lucy
  • St. Lucy before Paschasius
  • St. Lucy before Paschasius and St. Lucy Harnessed to Oxen
  • Teams of Oxen
  • Palazzo Communale
  • St. Lucy at the Tomb of St. Agatha
  • Saint Antoninus Altarpiece
  • San Giovanni Elemosinario
  • Graphische Darstellung der Entwicklung der Perioden und Phasen des Renaissance-Stils in Frankreich von 1475–1895
  • Umbrien Marken
  • Le vite de' più eccellenti architetti, pittori, et scultori italiani, da Cimabue insino a' tempi nostri, title page
  • Le vite de' più eccellenti architetti, pittori, et scultori italiani, da Cimabue insino a' tempi nostri
  • The Creation of Eve
  • The Fall of Man
  • Sibyls
  • Nautical Map of the Center East Mediterranean, the Black Sea, and the Sea of Azov
  • Topics to Be Memorized Organized as a City
  • Icon Regis Quoniambec
  • Main portal of the Pisa Baptistery, detail of Apostles
  • Madonna del Popolo
  • Virgin and Child
  • Christ in Judgment
  • Last Judgment, detail of St. Bartholomew
  • Discovery of Fire in the Golden Age
  • Brazilian Village
  • The Madonna and Child in Majesty Surrounded by Angels
  • Madonna and Child
  • The Madonna and Child in Majesty Surrounded by Angels, detail
  • The Madonna and Child in Majesty Surrounded by Angels, detail
  • Les chaines de l'ancien port de Pise et la statue de Jean de Pise au Campo Santo
  • Side of dome with hosts of angels: Archangels
  • The Expulsion from Paradise
  • Joseph Led into Egypt
  • Lady in Venetian Dress Contrasted with a Nuremberg "Hausfrau
  • Coronation of the Virgin
  • Coronation of the Virgin
  • Cimabue and Giotto as a Child
  • View of Il Trebbio
  • Giotto Pittore, Scultore, et Architetto Fior.
  • Fame
  • The Wedding at Cana
  • Della scrivere in cifra, woodcut
  • Saint John the Evangelist and Mary Magdalene
  • The Lamentation, detail
  • Month of April
  • Le vite de' piv eccellenti pittori, scvltori, et architettori: Tavola de' luoghi, dove sono le opere descritte
  • The Children of Mercury
  • Il primo [-secondo] libro d'architettura: Scena Comica
  • Ptolemy, "Cosmographia": Roma
  • Landscape with Roman Ruins
  • St. Augustine
  • Codex Barberiano: Pulley, Structural Details
  • Certosa di Pavia, detail view of the façade
  • Moeurs et façons des Turcs (Customs and Fashions of the Turks): Procession of Sultan Süleyman through the Hippodrome
  • Brunelleschi and Ghiberti Presenting a Model of San Lorenzo to Cosimo
  • Quintus Flaccus Horatius, "Opera": initial
  • Kruydtboeck oft Beschrijvinghe van allerley Ghewasser, Kruyderen, Hesteren ende Gheboomten
  • Di Lucio Vitruvio Pollione De architectura libri dece: Six Types of Columns and Capitals (Masculine Doric, Feminine Doric, Ionic, Corinthian, Attic, and Tuscan)
  • Pazzi Chapel, porch, detail from front elevation
  • De Antiquitate Urbis Patavii: PATAVIUM
  • Bronze equestrian statue commemorating Gattamelata
  • Supplementum, Supplementi delle Croniche: Padoua citta preclarissima
  • De antiquitate urbis Patvii: transcribed inscriptions
  • Libro De Sphaera: Artisans in Their Workshops
  • High Altar of the Santo, Relief Showing the Miracle of the Newborn Child
  • The Ascension with Christ Giving the Keys to St Peter
  • David with the Head of Goliath
  • David with the Head of Goliath
  • Samson Destroys the Temple of the Philistines
  • Palazzo Como
  • Triumphal Arch of Alfonso I of Naples, detail of the lower half
  • Triumphal Arch of Alfonso I of Naples, detail of soldiers
  • Saint Mark Preaching in Alexandria, detail
  • Antonello da Messina in the Studio of Jan van Eyck, detail
  • De artificiali perspectiva: Carreta Pelegrina
  • Poliphilo in Hercynian Forest
  • Emblemes, ou, Devises chrétiennes: Wanderer
  • The Curse of Canaan
  • The Return of Saint Rainerius to Pisa
  • Bracket Supporting Marine Creatures Sustaining a Tablet (Grottesche)
  • Libro de' disegni, page showing framing and decoration
  • St. Thomas of Aquinas Confounding the Heretics
  • St. Philip Banishes the Dragon
  • Saint Philip Driving the Dragon from the Temple, detail
  • Codex Zouche-Nuttall, leaf
  • St. Jerome with a View of Perugia
  • The Battle of Cascina
  • Prophet Isaiah
  • The Vision of Ezekiel
  • Nemesis (Large Fortune)
  • Christ before Pilate
  • Christ before Herod
  • The Fire in the Borgo, detail
  • Studies for the Last Judgment, detail
  • Garden in the Casa Galli, with Michelangelo's statue of Bacchus
  • Portrait medal of Michelangelo (obverse)
  • Plague in Crete, detail
  • Approach to a Mountain Village
  • St. Peter
  • St. Paul
  • Grotesques with Nude Figures
  • Tarquinius Priscus and the Augur Attius
  • Martyrdom of the Ten Thousand
  • The Sun Stands Still
  • La Loggia degli Eroi
  • The Shipwreck of Aeneas: Neptune Saving Aeneas and His Crew
  • Copy after Perino del Vaga's Compositional Study for "The Death of the Ten Thousand Martyrs"
  • The Taking of Siena
  • Chamber of Fortune
  • Chamber of Fortune, detail
  • Dialogo della pittura di m. Lodovico Dolce, intitolato L'Aretino, title page
  • Dialogo della pittura di m. Lodovico Dolce, intitolato L'Aretino, initial
  • View of Piazza San Marco
  • Delle cose notabili che sono in Venetia, title page
  • Il gran Conseglio dell'eccelsa Republica Venetiana, nel quale si riducono i nobili col Sern. Principe a creare magistrati, di bellissime pitture ornato
  • Lettere del gran Mahvemeto imperadore de'Tvrchi: scritte a diversi re, prencipi, signori, e repvbliche, con le risposte loro; ridotte nella volgar lingva da m. Lodovico Dolce, title page
  • Portrait Medal of Sultan Mehmet II, obverse
  • Copy of the Battle of Cadore
  • Emperor Charles V and Dog
  • Portrait of Emperor Charles V
  • D. Titus Vespasian
  • The Risen Lazarus, Supported by Two Figures
  • Raising of Lazarus, detail
  • Diverse imprese accommodate a diverse moralità: Vili
  • St. Nicholas in Glory with Sts. John the Baptist and Lucy, detail
  • St. Mark Healing St. Anianas in Alexandria
  • The Fisherman Presenting St. Mark's Ring to the Doge
  • De' veri precetti della pittura, title page
  • De' veri precetti della pittura: Tavola delle cose piu notabili
  • Speculum Romanae Magnificentiae: Roma
  • Episodes from a Roman History
  • The Belvedere Tiber and Nile
  • The "Academy" of Baccio Bandinelli
  • The Last Judgment in Outline
  • A Male Nude Seen from Behind
  • Taddeo Zuccaro Drawing the "Last Judgment"
  • Crucifixion with the Virgin and Sts. Mary Magdalene, Bernard, John the Baptist, and Benedict
  • Study for "Deluge with the Benediction of the Seed of Noah"
  • Glory of Angels
  • Francis I in the Studio of Benvenuto Cellini
  • Holy Family with St. Francis in a Landscape
  • Taddeo Rebuffed by His Kinsman Francesco Il Sant'Angelo
  • Taddeo at the Entrance to Rome Greeted by Servitude, Hardship, and Toil and by Fortitude and Patience (the Ox and Ass)
  • The Deeds of Hercules
  • Il passaggio per Italia, con la dimora di Parma del Sig. Cavaliere Federico Zuccaro: Coiffure at the Savoy Court
  • Head of a Woman
  • Ionic column
  • Regole delli cinque ordini: Ionic Order
  • Barbarossa Making Obeisance to the Pope
  • Artists Drawing after Michelangelo in the Medici Chapel
  • Constellations and Other Astronomical Figures for the Vault of the Galleria Grande in Torino
  • Study for an Equestrian Portrait
  • Il passaggio per Italia, con la dimora di Parma del Sig. Cavaliere Federico Zuccaro: Sleigh Ride
  • Self-Portrait
  • A Painter's Academy
  • Nicolas de Pigage, "La Galerie Électorale de Dusseldorff": La Salle Italienne, Troisième Salle
  • Archduke Leopold Wilhelm (with Teniers' Self-Portrait) among His Works of Art in the Archduke's Gallery in Brussels
Free
Description: The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
Contents
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00160.001
Free
Description: The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
Acknowledgments
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00160.002
Description: The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
My topic is the mobility of artists, chiefly in early modern Italy. Simply put, I understand mobility as a cultural practice that comprises an artist’s displacement, either voluntary or unwilling, from a homeland; confrontation with and work within an alien environment; and finally, the reception of that mobility by both foreign counterparts and compatriots. Mobility provoked commentary, censure, praise, reflection, and ultimately debate by sixteenth-century writers on art and by artists …
PublisherYale University Press
Related print edition pages: pp.1-7
https://doi.org/10.37862/aaeportal.00160.003

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Description: The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
15 August 1554. The Feast of the Assumption in Loreto at the Santa Casa, the Virgin’s birthplace miraculously transported from Nazareth to this city on the Adriatic coast. Here in this pilgrimage site, where as Montaigne described, ex-votos from so many places and princes cover the Holy House’s walls with silver and gold, the itinerant painter Lorenzo Lotto has decided to end his peripatetic existence. He inscribes the following entry in his account book: “Item, so as not to have to travel …
PublisherYale University Press
Related print edition pages: pp.11-38
https://doi.org/10.37862/aaeportal.00160.004

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Description: The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
If Vasari’s legacy is his fashioning of a history for the visual arts, then it seems reasonable to begin an analysis of artistic mobility where that history begins, namely the Proemio delle Vite. This is not to say that the preceding sections—the dedication to Duke Cosimo I, the initial Proemio, and the technical treatise—do not raise the issue of mobility. Nevertheless, it is in the Proemio delle Vite, henceforth referred to as the preface, where the reader first encounters sustained attention …
PublisherYale University Press
Related print edition pages: pp.39-53
https://doi.org/10.37862/aaeportal.00160.005

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Description: The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
Vasari concludes the preface by announcing, “Now the time has come for the life of Giovanni Cimabue; who, as was said, gave the beginning to the new way of painting.” This proclamation promises much to the reader. We might expect an account of how invasive mobility and styles will be vanquished, how the Tuscan air will restore the visual arts to their former glory. Such a confrontation, by consequence, would present and legitimize a genealogy of native artists quarantined from the foreign. Just …
PublisherYale University Press
Related print edition pages: pp.54-80
https://doi.org/10.37862/aaeportal.00160.006

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Description: The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
As Vasari recounts in Part I of the Lives, the mobility of Giotto and his pupils eradicates monstrous styles, disseminating the modern manner in their stead. Presumably the reader can now witness the upward trajectory of central Italian style undisturbed. Artistic achievements, and not place with its attendant connotations of potentially harmful or salubrious aria, would seem to take center stage. It was not his intention, Vasari declares, “to discover their [artists’] numbers, their names, and …
PublisherYale University Press
Related print edition pages: pp.81-121
https://doi.org/10.37862/aaeportal.00160.007

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Description: The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
For Giorgio Vasari and his contemporaries, the mobility of artists functions as a brokering agent, placing artistic behavior, works of art, and topographic and natural environments into proximity and dialogue. Criticism, justification, impassioned debate, and sometimes confusion characterize this network of interactions. Varietà is a key term that points to the potentially beneficial effects of travel upon an artist’s thinking process, manner of working, and execution. But what happens to …
PublisherYale University Press
Related print edition pages: pp.125-160
https://doi.org/10.37862/aaeportal.00160.008

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Description: The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
For all of its emphasis on varietà as a theoretical bridge that spans the gap between artists’ mobility and stylistic change, Vasari’s Lives locates the fountainhead of that varietà by and large in central Italian artists and artworks. Raphael acquires his varietà primarily in Tuscany and Rome, thus underscoring Vasari’s claim for these regions’ artistic superiority. With an arsenal of concepts such as patria, aria, contagion, and exile, his language reveals the tension and dilemmas that arise …
PublisherYale University Press
Related print edition pages: pp.161-188
https://doi.org/10.37862/aaeportal.00160.009

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Description: The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
Coursing throughout the bedrock of regionally oriented art literature are contesting veins of discourse. For Dolce and his Dialogo, varietà culled from various locales and artists can potentially be praiseworthy because it exhibits the painter’s knowledge of the foreign. Yet judgment and the sense of decorum which control varietà can easily falter, pushing an artist’s style into the domain of the ridiculous. And like Vasari, Dolce installs a steadfast surveillance of geographic borders, with …
PublisherYale University Press
Related print edition pages: pp.189-215
https://doi.org/10.37862/aaeportal.00160.010

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Description: The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
If Armenini’s Precepts is notable for circumscribing the discourse of mobility within an autobiographical framework, it certainly was not without precedent. As an event instrumental in providing commissions and extending knowledge of the world beyond the confines of one’s patria, travel was a recurring theme in artists’ first-person narratives. We might hazard that the first-person narration of mobility would generate straightforward reportage, of distances covered shorn of the rich figurative …
PublisherYale University Press
Related print edition pages: pp.216-233
https://doi.org/10.37862/aaeportal.00160.011

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Description: The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
In Il passaggio per Italia, Federico Zuccaro establishes mobility as a theme in and of itself voiced in the first person. But his work also reveals mobility’s uneasy and ambivalent rapport with the concept of style. The elliptical stance on maniera, the almost willful suppression of travel’s impact on the mechanics of Federico’s eye and hand, had ample precedent in the writings of Vasari, Armenini, and Dolce. Travel as aesthetic experience and leisure instead of the hard and weary path, be it …
PublisherYale University Press
Related print edition pages: pp.234-241
https://doi.org/10.37862/aaeportal.00160.012

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Description: The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
Notes
PublisherYale University Press
Related print edition pages: pp.234-241
https://doi.org/10.37862/aaeportal.00160.013
Description: The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
Bibliography
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00160.014

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Description: The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
Index
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00160.015
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Description: The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
Illustration Credits
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00160.016
The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style
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