The Traveling Artist in the Italian Renaissance The Traveling Artist in the Italian Renaissance Geography, Mobility, and Style David Young Kim Publication of this book is made possible by grants from the University of Zurich and the University of Pennsylvania Copyright © 2014 by David Young Kim All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S Copyright Law and except by reviewers for the public press), without written permission from the publishers yalebooks.com/art Library of Congress Control Number: 2014930820 ISBN 978-0-300-19867-6 epub ISBN 978-0-300-21224-2 A catalogue record for this book is available from the British Library Jacket illustrations: (front) Detail, Lorenzo Lotto, Saint Christopher Between Saint Roch and Saint Sebastian, ca 1535 Santuario della Santa Casa (Holy House), Loreto, Italy Erich Lessing / Art Resource, NY; (back) Detail, Federico Zuccaro, Artists Drawing after Michelangelo in the Medici Chapel (fig 8.1) In memory of my father Phillip Kyu Hwan Kim 1936–1993 Is it lack of imagination that makes us come to imagined places, not just stay at home? Or could Pascal have been not entirely right about just sitting quietly in one’s room? Continent, city, country, society: the choice is never wide and never free And here, or there No Should we have stayed at home, wherever that may be? —Elizabeth Bishop, “Questions of Travel,” 1956 (excerpt) Contents Acknowledgments Introduction PART I MOBILITY IN VASARI’S LIVES Chapter Mobility and the Problem of “Influence” Chapter Contamination, Stasis, and Purging Chapter Deluge, Difference, and Dissemination Chapter Artifex Viator PART II THE PATH AND LIMITS OF VARIETÀ Chapter Varietà and the Middle Way Chapter The Domain of Style Chapter The Mobile Eyewitness Chapter Mobility, the Senses, and the Elision of Style Epilogue Notes Bibliography Index Illustration Credits Acknowledgments Like traveling artists, art historians too are mobile Like few others, our profession demands long periods of displacement and solitude to reach distant objects of study, to look and write, and look again For encouragement over years of moving about here and there, I happily acknowledge the following colleagues, friends, and institutions My greatest debt is to my advisor and friend Alina Payne at the Department of the History of Art and Architecture, Harvard University, who encouraged me to weave imagination and intuition with hard evidence, to construct, dismantle, and rebuild my arguments so as to see more clearly their architectonic structures and fissures To her I give heartfelt thanks For their insights and advice, I would like to thank Ann Blair, Tom Cummins, Deanna Dalrymple, Julian Gardner, Jeffrey Hamburger, Ewa Lajer-Burchart, Gülru Necipoğlu, Jennifer Roberts, David Roxburgh, Victor Stoichita, Hugo van der Velden, Irene Winter, and Henri Zerner I had the opportunity to immerse myself in art literature as a Graduate Fellow in Renaissance Studies in the idyllic surroundings of Villa I Tatti, and I am grateful to Joseph Connors, then director of the Harvard University Center for Italian Renaissance Studies, and to my fellow appointees and academic staff, among them Nicholas Eckstein, Morten Steen Hansen, Wendy Heller, Valerio Pacini, Michael Rocke, Maude Vanhaelen, and most of all, Estelle Lingo The impulse to explore traveling artists in the Italian peninsula is due to my first teacher, Nicola Courtright, and the issue of Lorenzo Lotto as a “problem artist” emerged from conversations at the Isabella Stewart Gardner Museum with Alan Chong The work of Philip Sohm has long provided an example of how to delve into the relations between word and image, and I thank him for his intellectual generosity At the Kunsthistorisches Institut of the University of Zurich I found a second home For this I am deeply grateful to my mentor and friend Tristan Weddigen for engaging me as his wissenschaftlicher Assistent and providing me with innumerable opportunities to participate in the vibrant intellectual German-speaking world of art history Wolfgang Brückle, Julia Gelshorn, Mateusz Kapustka, Stefan Neuner, Julia Orell, and Martino Stierli discussed various aspects of this project, and this book is in many ways a token and souvenir of our time in Switzerland and elsewhere I was able to present sections of this book to students and faculty at the Universidade Federal de São Paulo, and I acknowledge Cássio da Silva Fernandes, Angela Brandão, André Luiz Tavares Pereira, and most of all, Jens Baumgarten, who organized my stay in Brazil as a visiting faculty member as part of the Getty Foundation’s Connecting Art Histories initiative This book would not have been possible to write without a fellowship at the Kunsthistorisches Institut–Max Planck Institute in Florence I am deeply grateful to the directors of the KHI, Alessandro Nova and especially Gerhard Wolf, for giving me the chance to wrestle with a manuscript over an entire year and for setting an example of how a scholar might invigorate early modern studies by asking cross-cultural questions in a historically responsible manner At the KHI, I benefitted from interactions with Hannah Baader, Giovanni Fara, Corinna Gallori, Jana Graul, Galia Halpern, Ashley Jones, Fernando Loffredo, Emmanuele Lugli, and Susanne Pollock Nicola Suthor discussed the project with me at its earliest stages and has been a steadfast friend and interlocutor Stuart Lingo has been a stimulating partner in discussions and I have benefited from his deep knowledge and visual acuity I would also like to acknowledge the comments on the scope and aims of this project offered by my colleagues in the hallmark Colloquium series in the Department of History of Art at the University of Pennsylvania, among them Karen Beckman, David Brownlee, Julie Davis, André Dombrowski, Renata Holod, Ann Kuttner, Michael Leja, Robert Ousterhout, Holly Pittman, Gwendolyn DuBois Shaw, Larry Silver, and Kaja Silverman For conversations and accommodation on both sides of the Atlantic, I am grateful to Edgar Ortega Barrales, Michael Becker, Chanchal Dadlani, Dina Deitsch, Peter Karol, Kaori Kitao, Penny Sinanoglu, and Mia You Special thanks to Maria Loh and Edward Wouk for their patient reading and meticulous commentary At Yale University Press I would like to thank Michelle Komie for her initial interest in this project and Heidi Downey, Katherine Boller, Mary Mayer, and Amy Canonico for their oversight of this project and commitment to art historical scholarship Noreen O’Connor-Abel read the manuscript with care and a sharp eye I would like to thank my family, Won Soon Kim, Sue Ann Kim and Adrian Lewis, and Chang-Kun Lee Finally, Ivan Drpić has been an unflagging supporter whose rigor and clarity of thought have inspired every page of this book Passignani, Domenico, 231 pastoral genre, 65, 66 patria, 121, 139, 161, 176; artist as ornament and, 171–73; artist reciprocity with, 83, 84, 102; connotation’s of, 83; severed ties with, 84 patronage, 6, 75, 138, 161, 166; importance of, 139; mobility and, 171, 214; oil technique and, 109; Ottoman, 109, 168, 169; Titian and, 173–74 Paul II, Pope, 104, 105 Paul III, Pope, 177 Paul IV, Pope, 214 Pavia, 101, 219; Certosa faỗade, 92, 93, 97 Payne, Alina, 6, 50 Pazzi Chapel (Florence), 97, 97 Pèlerin, Jean : “Carret a Pelegrina,” 111–12, 112; De artificiali perspectiva, 111–12 Perino del Vaga, 5, 7, 116, 125, 128, 135, 143–57, 195, 204, 235; honor’s and, 150; humble origin’s of, 144–45; linguistic “code-switching” and, 214; personal style of, 152–53; return to Florence of, 148, 150–51; Roman style and, 151, 211; self-sufficiency of, 145; varietà and, 144, 148, 151–52, 153, 155, 156–57; works: Grotesques with Nude Figures, 145, 146–47; La Loggia degli Eroi, 153, 154, 155; Martyrdom of the Ten Thousand, 151–52, 152, 156, 157; The Shipwreck of Aeneas: Neptune Saving Aeneas and His Crew, 155, 155; The Sun Stands Still (attrib.), 152, 153; Tarquinius Priscus and the Augur Attius, 148, 149 perspective, 87, 111, 203, 208–10, 220, 235 Perugia, 104, 120, 126, 127, 128, 134 Perugino, Pietro, 30, 86, 106, 111, 126, 128, 218; Crucifixion with the Virgin and Sts Mary, Magdalene, Bernard, John the Baptist, and Benedict, 207, 207 Peruzzi, Baldassare, 209, 212 Pesaro, 200, 217 Petrarch, 43, 74, 75, 111, 139; Canzone, 73; Familiares, 74; Invective against a Detractor of Italy, 42; Itinerarium ad sepulcrum domini nostri Yehsu Christi, 193; Sonnet 151, Petrus Christus, 109, 161 Picasso, Pablo, 26; Guernica, 30 pictura poesis, 172 Piedmont, 219, 221, 226–27, 228 Pierino da Vinci, 192 Piero della Francesca, 128 Piero del Massaio, “Roma,” 88 Piero de Pucci, 114 Piero di Cosimo, 89 Pietro Cavallini Romano, 76 Pietro del Donzello, 106 Pieve di Cadore, 12 Pigage, Nicolas de, 238, 239 Piles, Roger de, Abrégé de la vie des peintres, 238 pilgrimage, 2, 11, 99, 133, 186; allegorical, 7, 14, 111–14, 140–41, 141, 214, 220; community formation and, 204; religious, 211, 222, 241 Pino, Paolo, 13, 27, 131, 184; Dialogo della pittura, 162 Pinturicchio, 120–21, 128 Piombo See Sebastiano del Piombo Pisa, 55, 58, 62, 69, 75, 78; Gozzoli’s twenty-four frescoes, 114, 115 Pisa Baptistery, 114; Main Portal, 245, 246 Pisa Cathedral mosaics, 58, 63 Pisanello, 101, 128, 167 Pisano, Andrea, 73, 75, 139 Pisano, Nicola, 139 Pius II, Pope, Commentarii, 173 Pizzolo, Niccolò, 101 place: aria and, 44–46, 141, 143; art associated with, 44; artist as ornament of, 171–73; artistic techniques linked with, 183, 240; artwork suited to, 210–14; differences of, 36, 38, 210; history in relation to, 83; influence and, 26; memorization of names, 41; mobility tensions with, 156–57, 189; painting cycles and, 166; regional dialects and, 238; regional patriotism and, 189–90; style intersection with, 6, 7, 12, 34–37, 38, 62, 86–87, 102, 155, 156, 168, 210–14, 235, 238, 239–40; table of names, 81, 82, 83, 135; varietà and, 131, 140, 156; visual representations of, 61, 62, 185, 186 See also patria plague, 45, 141, 148 Plato, 46, 74; Symposium, 214 Plazzotta, Carol, 126 Pliny, 40, 70, 83 Pliny the Elder, 106; Naturalis Historia, 131 Plutarch, On the Education of Children (attrib.), 49 Podesti, Francesco, Francis I in the Studio of Benvenuto Cellini, 217, 217 Poggio, 67 Polidoro da Caravaggio, 12, 152, 160, 190, 195, 213, 214, 219, 235; Palazzo Ricci frescoes, 198, 198, 201, 235; as refugee from sack of Rome, 212, 213 pollution See contamination Polo, Marco, 203; Merveilles du monde, 131 Polo de Antonio da Raguxi (Ragusa), 101 Polyclitus, 131 Pontormo, Jacopo da, 128, 135, 207, 226; Christ before Pilate, 135, 136; Study for “Deluge with the Benediction of the Seed of Noah” (attrib.), 208; Victory and Battle of the Ten Thousand Martyrs, 152 Ponzio, 213, 214 Porcacchi, Tomasso, L’isole piu famose del mondo, 171 Pordenone, 12, 108, 172, 225 portraiture, 66 Posthumus, Herman, Landscape with Roman Ruins, 88, 89 Prato, 102 Precepts See Armenini, Giovanni Battista prima maniera, 115 Primaticcio, 238 printing press, 2, 210 proportion, 190 Protogenes, 84, 203 Ptolemy: Cosmographia, 88; Tetrabiblos 48, 87 Pucci, Lorenzo, 148 puppets (fantocci) and primitive style, 192 purging, 53, 80 Pythagoras, 74 Quattrocento, 167 Quintilian, 46, 49, 63, 74, 131; Institutio Oratoria, 131, 132 Quirinal (Rome), 199 Rabelais, 194 Raffaello da Urbino, 35, 36 Raimondi, Marcantonio, 135; Plague in Crete (after Raphael design), 141, 141 Ramusio, Giovanni Battista, 119; Navigazioni e viaggi, 2, 44, 134 Raphael, 3, 5, 12, 25, 30, 116, 125–36, 195, 204, 218; allegorical mobility and, 132, 140–41, 143, 227; astrological influence on style of, 190; on Barbarian destruction of Rome, 42, 45; coloring and, 179, 203, 235; diverse workshop of, 155; formation as painter of, 126, 128–30; Fra Bartolommeo and, 143, 144; letter to Pope Leo X by, 42, 45, 92, 190; maternal breastfeeding of, 145; mobility of, 12, 15, 126, 128, 129–30, 134, 139, 143, 144, 162, 203, 235; modo mezzano and, 132–33, 135, 227; oil technique and, 111, 183; perspective and, 209; proportion and, 190; Rome and (see under Rome); Rosso compared with, 36; Sebastiano restoration of Vatican frescoes of, 177, 178; style development of, 126–30, 132–36, 139, 235; varietà and, 125, 126, 130–36, 161, 185; works: Galatea, 131; Loves of Psyche, 213; Mond Crucifixion, 126; Prophet Isaiah, 124, 130; St Cecilia altarpiece, 135; St Jerome with a View of Perugia, 126, 127; School of Athens, 15, 235; Sea Victory at Ostia, 152; Sibyls, 10, 36, 37, 135; Sistine Madonna, 23; Stanza della Segnatura frescoes, 129, 166; Stanza dell’Incendio di Borgo: Fire in the Borgo, 16, 136, 137, 166; Villa Farnesina frescoes, 219; The Vision of Ezekiel, 134, 135 Ravenna, 52, 68, 190, 200, 206 recreation (ricreazione), 6, 217, 218, 219, 221–25, 230–31, 233, 234 regional style See place regola, 113, 115, 126 Reinhardt, Ad, 30 Reisezeichnungen (travel drawings), 228 Renaissance: Dark Ages preceding, 41; diagram of, 27, 28–29, 30, 30; and first crest of style, 27; Florence seen as cradle of, 69; patronage and, 139; purpose of education and, 49; Quattrocento and, 167; Trecento and, 54; “universal man” of, 165 Reni, Guido, 238 repatriation, 7, 80, 86, 108, 150, 234; rewards of, 75, 217 Resta, Padre Sebastiano, 110; Aggiunta e supplement al Correggio in Roma, 32–33, 32 rhetoric, 46, 132 Rhodes, 74, 84, 203, 210–11 Riccobaldo da Ferrara, 69 Ridolfi, Carlo, 184 Ripa, Cesare, 198, 218, 230; Iconologia, 73 Robert, King of Naples, 72, 73 Rocchetti, Marc Antonio, 210 Roman arches, 199, 225 Roman numerals and significance of typography, 50, 52–53 Romano, Giulio See Giulio Romano Rome, 30, 106, 173, 194–202, 209, 222; Accademia di San Luca, 234–35, 236–37, 238; antiquities of, 15, 18, 40, 88, 90, 92, 97, 116, 119, 138, 150, 160, 176, 177, 190, 194, 195, 198–200, 203, 204, 219; aria (air) of, 44, 46, 53, 133, 141–43, 179; Armenini and, 190, 194–202, 211, 213–15, 227, 238; artist-as-voyager and, 111; as artistic center, 194, 204, 211, 212–13, 217, 218; artistic competition in, 204, 220; artistic superiority of, 161; artists’ travel to, 75, 87–88, 104, 116, 118, 141, 142–43, 176–77, 194–205, 211, 214; Brunelleschi and, 89–97, 100, 116, 121, 138, 178, 194; contradictory traditions/perceptions of, 87–88; copies of works in, 200; displacement from, 211– 13; Donatello and, 89, 90, 92, 102, 128, 138, 178, 194; faỗades of, 195, 198, 213, 214, 219, 235; Florence contrasted with, 36–37, 151, 153; Fra Bartolommeo’s dislike of, 142–43; Giotto and, 68, 69, 78; guidebooks to, 92, 148, 194–95; Lotto and, 7, 13–14, 16, 16, 18, 24; mal’aria of, 142; map of, 195, 196–97; Michelangelo and, 35, 36, 129, 135–36, 138, 139, 142, 143, 153, 227, 234; Perino and, 145, 146–48, 151, 153, 211; pillage of (see Barbarian invasions; sack of Rome); plague (1523), 148; provincial style vs., 213; Raphael and, 12, 15, 92, 126, 129–30, 134, 135–36, 142, 143, 161, 203, 219, 235; reception of visitors to, 75; Rosso’s failure in, 34–38; Sebastiano and, 12, 177, 178, 179, 181; statuary of, 199–200; study in, 195, 198, 200–201, 211, 219, 234–35, 236–37, 238; stylistic modes of, 151, 152, 153, 210, 211, 213, 227, 235; Vasari commissions, 157 See also Vatican; specific landmarks Rossellino, Antonio, 106 Rossellino, Bernardo, Pazzi Chapel, 97 Rossi, Aldo, 34 Rossi, Bernardo de’, 24 Rosso Fiorentino, 27, 34–37, 38, 128, 135, 143, 201, 211; The Creation of Eve, 35, 35, 36, 38; Deposition from the Cross, 36; The Fall of Man, 35, 35, 36, 38; Rebecca and Eliezer at the Well, 36 Rovere, Giovanna Feltria della, 128 Rubens, Peter Paul, 240 Rubin, Patricia, 64, 65 Rucellai, Annibale, 192 ruins See antiquities rule (regola), 113, 115, 126 Ruscelli, Girolamo, Precetti della militia modern, 190 Rusticello, Il milione, 203 Sabatelli, Giuseppe, Cimabue and Giotto as a Child, 64 Sacchetti, Franco, 74–75 sack of Rome (1527), 12, 43, 55; aria of, 45; destructive cultural impact of, 177–78; effect on mobility of, 12, 133, 211–12, 213 sacks of Rome (410, 455, 456, 546) See Barbarian invasions Sadeler, Aegidius, II, print of Titian’s Titus Vespasian, 174, 175, 176 Sagrega, Guillermo, Triumphal Arch of Alfonso I of Naples, 106, 107, 108 St Augustine, 89–90, 90 St Lucy, confraternity of (Jesi), 19, 21 St Peter’s Basilica, 70, 129–30, 133 See also Sistine Chapel St Peter the Martyr, altar of, 164, 165 St Petronius, faỗade reliefs, 139 St Thomas Aquinas, 15, 42, 90, 118, 164, 216 Sala del Maggior Consiglio (Great Council Hall, Venice), 75, 166, 167–68, 167, 169, 170, 171, 188, 228, 229 Salviati, Francesco, 24, 213, 214 Sangallo, Antonio da, 67, 133 Sangallo, Antonio da, the Younger, 36 San Gallo, Bastiano (Aristotile), 128; Copy after Michelangelo’s Cartoon “Battle of Cascina,” 129, 129 Sangallo, Giuliano da, 67; “Pulley, Structural Details,” Codex Barberiano, 90, 91 San Gimignano, 87, 133, 141, 142, 143 San Giovanni Evangelista (Brescia), Moretto altarpiece, 23 San Giovanni Evangelista (Ravenna), Giotto frescoes, 68 San Marco (Venice), 72, 141; bronze horses faỗade, 101; Byzantine art, 167; repairs to, 21–22, 52 Sanmicheli, Michele, 13 San Miniato al Monte (Florence), 63 Sannazaro, Jacopo, Arcadia, 66 Sansoni (publisher), 35 Sansovino, Andrea, Pallazzo della Signoria, 22, 22, 23 Sansovino, Francesco, 12; Delle cose notabili che sono in Venetia, 171, 189; Dell’historia vniversale dell’origine et imperio de tvrchi, 169; Dialogo di tutte le cose notabili e belle che sono in Venetia, 165–68, 166; Venetia città nobilissima et singolare descritta, 169, 171, 189 Sansovino, Jacopo, 128, 211–12, 213 Santa Chiara fresco cycle (Naples), 72 Santa Croce (Florence): Cimabue and, 68, 69; Donatello and, 68, 100, 103; Pazzi Chapel design, 96, 97 Sant’Agostino (Rome), Raphael fresco, 129, 130 Santa Maria del Carmine (Florence): Brancacci Chapel, 47, 47, 141; Chapel of Jerome fresco cycles, 74; Lotto altarpiece, 181; Masaccio frescoes, 47, 80, 141, 151; Masolino scenes of St Peter’s life, 141 Santa Maria della Pace (Rome): Cesi Chapel frescoes, 26, 34, 35, 35, 36, 38; Chigi Chapel frescoes, 10, 36, 37, 135 Santa Maria Maddalena de’ Pazzi (Florence), 207, 207 Santa Maria Maggiore (Rome), 12, 43; mosaic faỗade, 63, 63 Santa Maria Novella (Florence), 55, 64; Strozzi Chapel, 118, 119, 119, 120, 152 Santa Maria Nuova (Florence), 111 Santa Maria Sopra Minerva, Carafa Chapel (Rome), 118 Sant’Angelo, Francesco Il, 219, 220 Sant’Antonio Basilica See Santo Santi, Giovanni (Raphael’s father), 126 Santi Giovanni e Paolo (Venice), 164, 165, 169, 182; Lotto altarpiece, 23, 25; Lotto burial in cemetery of, 11 Santissima Annunziata (Florence), Santo (Padua): Bellano bronze relief, 105–6, 105; Donatello altar, 98, 99, 101, 102, 102, 103 Sanudo, Marin, 167, 168 Sarto, Andrea del, 35, 36, 128, 133, 143, 226 Sauli, Bandinello, Cardinal, 3, Savonarola, Michele, Libellus de magnifics ornamentis regie civitatis Padue, 98, 99 Savoy court, 224, 226, 227–28, 230; coiffure at, 222, 223 Saxl, Fritz, 25–26 sbandire (expulsion), 66 Scalza, Michele, 49 Scardeone, Bernardino, Historiae urbis Patavii, 98, 98, 99, 100, 100, 104, 189 Scarpaccia, Vittore, 86–87 Schlosser, Julius von, 33–34, 67 Schmitt, Carl, scientific knowledge, 95–96, 111 Scipione Africanus, 75 Scolari, Filippo Spano de gli, 108 Scorel, Jan van, 182 sculpture, 86; Donatello and, 100–106, 178; Michelangelo and, 139, 228; relief, 87; Roman antiquity, 199–200, 219 See also equestrian statuary Sebastiano del Piombo, 3, 18, 142, 173, 177, 178–81, 184, 195; Dolce’s view of imitative work of, 180–81, 227; mobility of, 6, 12, 162–63, 178–79, 181, 211; musical talent of, 225; restoration of Raphael frescoes by, 177, 178; works Cardinal Bandinello Sauli, His Secretary, and Two Geographers, 3, 4, 5; The Raising of Lazarus, 179, 179, 180 seconda maniera See modern style Seisenegger, Jakob, 173; Portrait of Emperor Charles V, 174 selfhood, 38, 42, 72–74, 80, 156, 225 self-sufficiency, 144 Semper, Gottfried, Der Stil, 27 Seneca, 75 senses, 6, 7, 204, 222–23, 225–27, 233 Serlio, Sebastiano, 27, 94, 210; “Scena Comica,” 84, 86 Shearman, John, 128 Sideri, Giorgio (Calopodio da Candia), Nautical Map of the Center East Mediterranean, the Black Sea and the Sea of Azov, 40 Sidney, Philip, 98 Siena, 69, 75, 83, 203, 207, 227; Baptistery, 102; Cathedral, 128, 209, 210; Giotto disciples in, 78 sight See vision Signorelli, Luca, 6, 106, 120, 128; “Apocalypse” fresco, 121 Simone del Pollaiuolo (Il Cronaca), 150 Simone Sanese, 76 Siraisi, Nancy, 44 Sistine Chapel, 36, 129, 135–37, 139, 145, 166, 192; communitas gathered in, 204; Last Judgment, 177, 180, 201, 204, 205; varietà of frescoes, 114, 136–37 site specificity, 18–19, 21–23, 25, 38 smell, sense of, 225 Sobborgo Sant’Angelo (Perugia), 126, 127 Sohm, Philip, 6, 35, 207 Sorte, Cristoforo, Osservazioni nella pittura, 192 space, 151 Spain, 73–74, 106, 108, 212, 213, 238 Spear, Richard, Spinelli, Parri, 83 Spinello Aretino, 65, 73, 78, 84, 114, 171, 183 spiritual journey See pilgrimage Spitzer, Leo, 43 spogliata/spogliare ornamenti, 172 Spoleto, 116, 171–72 Starnina, Gherardo, 73–74 Statius, 75 Stefano Fiorentino, 76 Stoics, 112 Strabo, Geography, 177 Strozzi Chapel (Florence), Filippino Lippi frescoes, 118, 119, 119, 120, 152 style, 5, 18, 126, 161–215; arbiter of, 210; aria relationship with, 43–46, 53, 143; artistic subjectivity and, 225; astrological influence on, 190, 227; center and periphery and, 65–66; classification by place, 86–87 (see also place); cleansing of, 5; confrontations and, 156; corruption of, 4, 5, 46–49, 134, 214; dialectic of, 18–25, 38; difference and, 35–37, 38, 61–62, 151–52, 155, 156, 178, 210–11; diffusion of, 44, 79, 80, 92, 151, 210, 212, 218, 227; dissemination of, 76–80, 81, 162; ethnicity and, 50, 58, 153, 181, 239–40; Florentine focus on, 80, 87; gender and, 180; geographic license and, 18–21, 23–24, 25, 38; imitation of, 103–4, 105, 135; influence and, 26, 33, 46; mobility’s effects on, 3–5, 12–16, 24–25, 27, 34, 44, 76–80, 81, 84, 86, 92, 132, 139, 151– 210, 214, 227, 233, 234, 238, 239, 240–41; modo mezzano, 132–33, 135, 227; mutation of, 135; as organic, 80; origins and, 7, 178; personal differences and, 36; place intersection with, 7, 34–37, 38, 210–14; regional variants of, 6, 12, 155, 178, 210–14, 235, 238–39; significance of year MCCL to, 50, 52–53; site specificity and, 18–19, 21–23; speed and excess and, 208; as spiritual journey, 111–14; study of models of, 204; subject matter elided with, 131; temporality and, 36, 38, 49–53, 103; terza maniera qualities, 113; varietà as bridge betwwen mobility and, 121, 161; Vasari’s lexicon of terms, 46 Süleyman the Magnificent, Sultan, 186 Summonte, Pietro, 161–62 Suriano, Francesco, 168 Sylvester, Pope, 43 Tacca, Pietro, 226 Tacitus, 42; Germania, 42, 49–50 Taddeo See Gaddi, Taddeo Taffi, Andrea, 58, 63, 67, 75 Taine, Hippolyte, 240 Tamagni, Vincenzo, 133 taste, 6, 225–27 tempera, 50, 75, 76 temporality, 36, 38, 49–53, 103 Teniers, David II, 238–39; Archduke Leopold Wilhelm (with Teniers’ Self-Portrait among His Works of Art in the Archduke’s Gallery in Brussels), 240 Terence, 165 terza maniera, 113, 176 Theocritus, Idylls, 66 Theodosius, obelisk of, 169 Thevet, André, 43 Tibaldi, Pellegrino, 30, 238 time See temporality Tintoretto, Paradise, 166 Titian, 6, 19, 165–76, 178, 182, 218; birthplace of, 173; brushwork and, 182; differenza and, 178; diffusion of fame of, 171, 172, 173; as divine, 162, 184; donna nuda prototype and, 131; as hallmark of Ventian style, 171 (see also Venice); journey to Rome (1545) of, 177; mobility and, 6, 12, 171, 173, 174–77; mosaic training of, 167; new style and, 167, 176, 177; oil technique and, 173, 203; and Sala del Maggior Consiglio, 166, 167–68, 167, 170; varietà of, 185; works Assumption of the Virgin (Assunta), 23, 176, 182, 185; Battle of Cadore (Battle of Spoleto), 167, 170, 170, 171; Ca’ Pesaro, 182, 186, 188; Charles V and Dog, 173, 174; Danae, 177; St John the Baptist in the Wilderness, 169; St Peter the Martyr altarpiece, 23, 164, 170, 182; San Giovanni Elemosinario altarpiece, 23–24, 24; Süleyman the Magnificent portrait, 186; Titus Vespasian, 174, 175, 176; Twelve Caesars series, 173–74 Torrentino, Lorenzo, 33, 65, 165 Torriti, Jacopo, Coronation of the Virgin, 63 Toscanella, Oratio, 132 touch, sense of, 225 Trajan Arch, 199 translation, 132 travail, 74–76; meanings of, 74, 139 travel accounts, 2, 3, 4, 5, 119, 173, 233; aria and, 46–47; artists’ notebooks, 120; difference as key term of, 61; eyewitness, 6, 200, 201, 203–15, 216–33, 234; as memoir, 216, 218–41; mescolare metaphor and, 134; varietà and, 131; Vasari Lives as, 33–37; visualization and, 169; on wisdom gained, 74 traveling artist See mobility Treviso, 11, 13, 15, 16, 24 Trexler, Richard, 61 Trinità dei Monti (Rome), 137, 148 Triumphal Arch of Alfonso I of Naples, 106, 107, 108, 108 Tucker, George Hugo, 112 Tullius, 75 Turin, 134, 219, 221–24, 227–31; Zuccaro frescoes, 227–28 Turler, Hieronymus, The Traveiler, 74 Turner, Victor, 204 Tuscan order, 94, 95, 96 Tuscany, 30, 40, 44, 52, 76, 214; aria benefits of, 141; artistic superiority of, 161; Byzantine style and, 47; export of art works from, 106; Fra Bartolommeo travels in, 143; mescolare and, 134; Michelangelo and, 139; Raphael’s travels in, 126, 128, 161; restoration of visual arts and, 50, 53, 54, 55; Vasari’s pride in, 83 See also Florence Uccello, Paolo, 83, 87 Uguccione da Faggiuola, 69 Ulysses, 74, 95, 112, 211 Umbria, 86, 210 universal style, 103 urban center See city Urbano da Cortona, 101 Urbino, 12, 171, 173, 183, 189; classical style copies in, 200; oil technique and, 109; Raphael and, 12, 15, 125, 126 Urbino, Duke of (Guidobaldo da Montelfeltro), 109, 128, 171, 177 Utens, Giusto, View of Il Trebbio, 67 Van der Goes, Hugo, 109 Vandals, 53, 191 Varchi, Benedetto, 61, 72, 139, 177; Perino and, 144–60; Storia fiorentina, 55, 66 varietà, 5, 6, 7, 114–21, 125–60, 162, 185–87, 189; Accademia di San Luca and, 235; allegorical movement and, 227; as benefit of mobility, 125–60, 161, 185–86, 187, 235; central Italy as fountainhead of, 161; decorum and, 186, 187; definition of, 125, 185; difference and, 151–52, 155; Dolce’s praise for, 185; expanded semantic boundaries of, 120–21; Michelangelo and, 136–43, 185; mixing and, 119–20, 134; political implications of, 186; portability of, 153, 155, 156; positive effects of, 235; Raphael and, 125, 126, 130–36, 161, 185; Zuccaro on, 233 varnish, 206 Vasari, Giorgio, 4, 5, 24, 98, 166, 168; Arezzo home of, 69, 157, 158, 159; aria and, 43–46, 53, 80, 133, 141–43; on artistic corruption, 47–49, 50; on artistic greatness, 192; on artists’ appetites, 225–26; Chamber of Fame fresco cycle, 69; contradictions of, 156; Dolce’s Venetian work and, 163; fictive embellishments of, 33; flood metaphor of, 54–55; on Islamic view of images, 168, 169; legacy of, 33–34, 39; on Lorenzo Lotto, 182; modo mezzano and, 132, 133; on oil technique, 109– 11; on patria, 83, 102; patriotic tone of, 156; pride in Florence of, 69; return of Michelangelo’s body to Florence and, 234; on senses, 225–26; significant dates and, 50, 52–53; spogliare ornamenti and, 172; on study in Rome, 176, 194, 201; on stylistic concessions, 62–63, 167; on stylistic contamination, 47–48; on stylistic distinctions, 180; stylistic terms lexicon, 46; temporality conception of, 49–53; texture of prose of, 33; on travel as travail, 74–76; on universale, 103; varietà connotations and, 114–21, 125–60, 185 works: autobiography, 218; Brunelleschi and Ghiberti Presenting a Model of San Lorenzo to Cosimo (workshop), 94; Chamber of Fortune, 158, 159; Copy after Perino del Vaga’s Compositional Study for “The Death of the Ten Thousand Martyrs,” 156, 157; Fame, 69, 70; Holy Family with St Francis in a Landscape, 218, 219; Libro de’disegni, 116, 117; Ragionamenti, 53, 73, 132; The Taking of Siena (and assistants), 157, 157 See also Lives Vatican, 135, 148, 199; Giotto’s “O” and, 71, 72; Lotto and, 7, 13–14; papal commissions, 166; Raphael’s frescoes, 129, 166, 177, 178; Titian received at, 177, 178 Vecchio, Cosimo il, 94, 94 Vecellio, Cesare, View of Piazza San Marco, 164, 165 Vellando of Padua See Bellano, Bartolomeo Vellutello, 73 Venceslao, Master, Month of April, 79 Vendramin, Andrea, tomb of, 165 Veneziano, Domenico, 33, 128; transmission of oil technique and, 110–11, 183 Venice, 12, 30, 58, 83, 104, 161–87, 206, 217; altar-piece composition and, 23–24; artistic travel to and from, 6, 75, 86, 162–63, 177, 184, 203, 218, 219; art literature and, 161–62; atmosphere of artistic competition, 86; atmosphere of artistic envy, 75–76, 110–11; brushwork and, 181; Byzantine contacts with, 47, 167, 168–69, 172; coloring and, 12, 111, 181, 183, 184; cosmopolitanism of, 186; diplomatic ciphers and, 72; Dolce’s allegiance to, 161–73, 188; Dürer in, 13, 184, 185; Gothic style and, 45; guidebook to, 167; illustrious citizens of, 165–66; as intellectual center, 165, 171, 211; lavish banquets, 226; Lotto and, 11, 12, 13, 16, 18–19, 21, 23– 24, 181–82, 184; maps of, 164; Michelangelo and, 139; modern style and, 172; nude prototype and, 131; oil technique and, 13, 110, 180; Ottoman contacts with, 108–9, 168–69, 186; prints of, 164– 65, 164, 165; repatriation to, 75, 150; as ricetto (collection point), 211; Sala as epicenter of art, 166, 167–68, 167; San Marco rebuilding and, 52; Sansovino and, 12, 165, 211–12; Sebastiano and, 178–79; style and, 13, 16, 162, 167, 181, 228, 238; Titian’s ties to, 12, 162–76, 184, 190; woman’s dress, 61, 62 See also Padua Verdizotti, Giovanni Mario, Cento favole morali, 190 Vere, Gaston du C de, 73–74 Vergerius, 49 Vergil, Polydore, 183; On Discovery, vernaculars, 132, 134, 165 Verona, 78, 218 Verrocchio, Andrea del, 104, 165, 230; Head of a Woman, 224 Vespucci, Amerigo, 42, 44, 50, 131 Vignola, Giacomo Barozzi da: “Ionic Order,” 225, 225; Regola delli cinque ordini, 131, 225 Vincenzio da San Gimignano, 141, 143 Virgil, 75, 165, 193, 212, 220; Eclogues, 66 virtual travel, 81, 120, 231 Visigoths, 53, 191 vision, 6, 225, 226, 227, 233 Vitruvius, 2, 42, 45, 50, 75, 76, 94, 183; on Ionic column, 225 Vittorino da Feltre, 49 Vivarini, Alvise, 13, 27 voyager, artist as, 111–12 Warnke, Martin, 12, 72 Weddigen, Tristan, 112 wet nurses, 144–45 Weyden, Rogier van der, 25, 26, 30, 106, 161; oil technique and, 32, 33, 109 White, Hayden, 52 William of Rubruck, 131 Williams, Robert, Wilson, Thomas, The Arte of Rhetorik, 74 Winckelmann, Johann Joachim, Geschichte der Kunst des Alterthums, 27, 239–40 wines, 83, 226–27 Wittkower, Rudolf and Margot, 3, 94 Woeiriot, Pierre, “Wanderer,” 113 Wöfflin, Heinrich, Kunstgeschichtliche Grundbegriffe, 240 Zeuxis, 131 Ziani, Sebastiano, 167 Zoppo, Franco Marco, 238 Zuan da Pixa (Pisa), 101 Zuan Magnan, 101 Zuccaro, Federico, 32, 204, 218–33, 234, 235; Accademia di San Luca and, 234; on food and drink, 226–27, 230; parallels with earlier mobility accounts, 216–17; silence on style, 227–33, 240; on travel as exercise of pleasure, 6, 217, 218, 219, 221–25, 230–31, 233; works: Artists Drawing after Michelangelo in the Medici Chapel, 228, 230; Barbarossa Making Obeisance to the Pope, 228, 229; Coiffure at the Savoy Court, 222, 223; Constellations and Other Astronomical Figures for the Vault of the Galleria Grande in Torino, 231; The Deeds of Hercules, 222; Early Life of Taddeo Zuccaro, 219–21, 227, 235; L’idea de’ pittori, scultori ed architetti, 216, 228; Origine e progresso dell’Accademia del Disegno a Roma, 235; Il passaggio per Italia, 3, 6, 216, 218–33, 234; Reisezeichnungen (travel drawings), 228; Self-Portrait, 233, 233; “Sleigh Ride,” 231, 232; Study for an Equestrian Portrait, 232; Taddeo at the Entrance to Rome Greeted by Servitude, Hardship, and Toil and by Fortitude and Patience (the Ox and Ass), 220, 221; Taddeo Rebuffed by His Kinsman Francesco Il Sant’Angelo, 219, 220; Taddeo Zuccaro in the Sistine Chapel Drawing Michelangelo’s “Last Judgment,” 204, 205; Turin gallery frescoes, 227–28 Zuccaro, Taddeo, 204, 205, 219–20, 220, 221, 222, 227, 235 Zuccati, Sebastiano, 167 Illustration Credits AKG: fig 8.15 AKG/Electa: fig 7.12 AKG Images/Andrea Jemolo: fig 4.37 Albertina: fig 5.18 Alinari: figs 3.12, 4.25, 4.33, 4.34, 5.20, 7.4 Alinari/Art Resource, NY: figs 4.20, 4.24, 5.11 (photo by George Tatge, 2000, Museo Nazionale del Bargello) AKG: fig 1.6 Joerg P Anders, Berlin, Kupferstichkabinett, Staatliche Museen, Art Resource, NY: fig 5.10 Richard Anderson and David Winfield, Courtesy of Dumbarton Oaks, Image Collections and Fieldwork Archives, Washington, D.C.: fig 2.6 Ashmolean Museum, University of Oxford: fig 5.1 Lala Aufsberg, Bildarchiv Foto Marburg: fig 1.13 © Biblioteca Apostolica Vaticana: figs 1.19, 1.20, 4.7 Biblioteca Estense: fig 4.19 © Bibliotheca Hertziana: fig 8.5 Biblioteca Medicea Laurenziana: fig 4.11 By concession of the Ministero per i Beni e le Attività Culturali, Direzione Regionale per i Beni Culturali e Paesaggistici del Piemonte—Biblioteca Reale di Torino: figs 5.16, 8.8 By concession of the Ministero per i Beni e le Attività Culturali—Soprintendenza per i Beni A.P.S.A.E di Arezzo—photo by Alessandro Benci: figs 5.24, 5.25 Bibliothèque Nationale, Paris: fig 4.4 The Bodleian Library, University of Oxford: fig 8.14 Bridgeman Art Library: figs 3.14, 5.2 © Trustees of the British Museum: figs 4.2, 4.40, 5.5, 5.7, 5.9, 5.12, 6.3, 6.5, 6.11, 6.12, 7.5-7.8, 7.11, 8.7 Cameraphoto Arte, Venice/Art Resource, NY: fig 1.9, 1.15, 1.16, 3.16, 3.19, 6.15-6.17, 8.10 By permission of The Governing Body of Christ Church, Oxford, Christ Church Picture Gallery: fig 4.36 Civico Gabinetto dei Disegni, Castello Sforzesco, Milan: fig 8.12 Alfredo Dagli Orti/Art Resource, NY: fig 2.1 Gianni Dagli Orti / The Art Archive at Art Resource, NY: figs 3.20, 8.1 © U Edelmann—Städel Museum—ARTOTHEK: fig 3.9 Graphische Sammlung ETH Zürich: fig 9.1 Grenville Kane Collection, Rare Books Division, Department of Rare Books and Special Collections, Princeton University Library: fig 6.14 Harvard Art Museums/Fogg Museum, Bequest of Charles A Loeser, 1932.265, Imaging Department © President and Fellows of Harvard College: fig 5.22 Philippe Hervouet, Bourg-en-Bresse, musée du monastère royal de Brou: fig 4.29 Houghton Library, Harvard University: figs 2.2., 2.3, 2.10, 4.1, 4.30, 4.32, 6.1, 6.2, 6.4, 6.6 ICCD E 40214 Reproduction authorized by the Italian Ministry of Cultural Heritage and Activities, Central Institute for Cataloguing and Documentation: fig 1.22 The J Paul Getty Museum, Los Angeles: figs 8.3, 8.4 Erich Lessing/Art Resource, NY: figs 1.5, 1.7, 1.11, 1.12, 1.14, 3.7, 3.8, 3.11, 4.5, 4.38, 6.9, 9.3 Filippino Lippi, Saint Philip: fig 4.39 Digital image © 2014 Museum Associates/Los Angeles Contemporary Museum of Art Licensed by Art Resource, NY: fig 8.2 Metropolitan Museum of Art: fig 3.2, 3.18 (image source Art Resource, NY); 4.9 (image source Art Resource, NY); 4.23 (image source Art Resource, NY), 5.13 Mondadori Portfolio/Electa/Art Resource, NY: figs 1.8, 3.10 Museum Plantin-Moretus: fig 4.12 National Gallery of Art, Washington: figs 0.1, 0.2 National Gallery, London: fig 6.13 © National Gallery, London/Art Resource, NY: fig 1.2 Nimatallah / Art Resource, NY: fig 6.10 © Antonio Quattrone: fig 2.5 © RMN: figs 3.1, 3.3, 3.4 © RMN-Grand Palais (musée du Louvre)/Gérard Blot: figs 1.1, 1.10, 5.21 © RMN-Grand Palais (musée du Louvre) / Madeleine Coursaget: fig 8.13 © RMN-Grand Palais (musée du Louvre) / Droits réservés: fig 8.11 Scala/Art Resource, NY: figs 1.23, 2.4, 2.7, 2.8, 3.6, 3.13, 4.6, 4.8, 4.10, 4.14, 4.26-4.28, 5.3, 5.4, 5.8, 5.19, 7.10 Scala, Florence © 2013: figs 1.21, 4.16, 5.6 (courtesy Ministero per i Beni e le Attività culturali), 5.17 (courtesy Ministero per i Beni e le Attività culturali), 5.23, 6.8 Scala/Ministero per i Beni e le Attività culturali/Art Resource, NY: fig 1.4, 4.22 Soprintendenza Speciale per il Patrimonio Storico Artistico ed Etnoantropologico e per il Polo Museale della Città di Firenze: fig 4.35 Universitätsbibliothek Heidelberg: fig 9.2 Special Collections Research Center, University of Chicago Library: fig 7.3 Vatican Museums: figs 5.14, 5.15 Victoria and Albert Museum: figs 4.21, 6.7 © The Warburg Institute, University of London, School of Advanced Study: figs 2.9, 4.3, 4.13 .. .The Traveling Artist in the Italian Renaissance The Traveling Artist in the Italian Renaissance Geography, Mobility, and Style David Young Kim Publication of this book... book in the surrounding wilderness These include the saint’s domelike head that resounds in the boulder’s rounded ends and the open folios with their bindings which are the formal origins of the. .. principalities, and kingdoms constituting the Italian peninsula We only need to think of wellworn labels such as “International Gothic,” the Wanderjahre of the craftsmen, or the drawings of the