Alonso Berruguete, Reinassance Sculptor - Page 35



31 Taubert, Marincola & Kleinstuck-Schulman, Polychrome Sculpture, p. 33.
32Roller, The Polychromy of Mediaeval Sculpture: A Brief Overview, p. 354.
33 See L.B. Alberti, The Architecture of Leon Batista Alberti in Ten Books (London: Printed by
E. Owen for R. Alfray, 1755).
34 Timothy Verdon, “Il pathos del legno e del colore: Il Crocifisso di Benedetto da
Maiano nel Duomo di Firenze,” in “Fece di Scoltura di Legname e Colori”: Scultura del
Quattrocento in legno dipinto a Firenze, exhibition catalogue, eds. Alfredo Bellandi and
others, Prima edizione. ed. (Florence: Giunti, 2016), p. 134.
35 See Chapter XIV, “Della Scultura,” in G. Vasari, Vite de’ più eccellenti pittori, scultori
e architetti scritte da Giorgio Vasari pittore e architetto aretino corrette da molti errori e illustrate
con note: tomo primo dedicato alla Sacra Maestà di Carlo Emanuele Re di Sardigna & c.
55 Wethey, “The Early Works of Bartolomé Ordóñez and Diego de Siloe,” The Art
Bulletin 25, no. 3, p. 234.
56 Wethey, “The Early Works of Bartolomé Ordóñez and Diego de Siloe,” The Art
Bulletin 25, no. 3, p. 237.
57 Harold E. Wethey, “The Early Works of Bartolomé Ordóñez and Diego de Siloe,”
The Art Bulletin 25, no. 4 (1943), p. 325-326.
58 Wethey, “The Early Works of Bartolomé Ordóñez and Diego de Siloe,” The Art
Bulletin 25, no. 4, p. 327.
59Gomez-Moreno, Diego Siloe, p. 16.
60 Wethey, “The Early Works of Bartolomé Ordóñez and Diego de Siloe,” The Art
Bulletin 25, no. 4, p. 335.
(Rome: Per Niccolò e Marco Pagliarini stampatori e mercanti di libri con Licenza
61 Del Río da la Hoz, El escultor Felipe Bigarny, pp. 157-162.
de’ Superiori, 1759).
62 On the portal at Casalarreina and other works by Bigarny between 1500 and 1520,
36Roller, The Polychromy of Mediaeval Sculpture, pp. 350-354.
37 F. Marías, F., El largo siglo XVI : Los usos artísticos del Renacimiento español (Madrid:
Taurus, 1989), p. 25. My translation.
see Del Río da la Hoz, El escultor Felipe Bigarny, pp. 91-152.
63Azcarate, Escultura del siglo XVI, p. 41.
64Gomez-Moreno, Diego Siloe, p. 18.
38Marías, El largo siglo XVI, pp. 205-212.
65 Del Río da la Hoz, El escultor Felipe Bigarny, pp. 174-190.
39Marías, El largo siglo XVI, p.41.
66 Del Río da la Hoz, El escultor Felipe Bigarny, pp. 184-187.
40 On the history and patronage of the Mendoza family, see e.g., H. Nader, The
67Vasari, Vite, “Pietro Torrigiano (1472-1528), Sculptor of Florence.”
Mendoza Family in the Spanish Renaissance: 1350 to 1550 (New Brunswick, N.J: Rutgers
68Azcarate, Escultura del siglo XVI, p. 45.
University Press, 1979); A. García López, “La correspondencia del conde de
69 Del Río da la Hoz, El escultor Felipe Bigarny, pp. 261-4.
Tendilla. Nuevos datos sobre el mecenazgo de la familia del Cardenal Mendoza”.
70 I. Mateo Gómez, “La sillería del coro de la Catedral de Toledo,” Temas Toledanos 3,
Wad-Al-Hayara: Revista de Estudios de Guadalajara 22 (1995), pp. 65-122.
41 P. Lenaghan, “Reinterpreting the Italian Renaissance in Spain: Attribution and
Connoisseurship,” Sculpture Journal II (1998), pp. 13-23.
Toledo, 1980, p. 41.
71 “The ingenuity of the craftsmen competed and in the same way the judgements of
those who examine this work will also compete.”
42 P. Lenaghan, “Reinterpreting the Italian Renaissance in Spain, p. 19.
72Gomez-Moreno, Diego Siloe, p. 32.
43 Gómez-Moreno cites a clause in her will which specifies that she wished for “maestre
73 Wethey, “The Early Works of Bartolomé Ordóñez and Diego de Siloe,” The Art
Dominico” to take the prince’s portrait with him, presumably with reference to production
Bulletin 25, no. 4, p. 331.
of the effigy. See M. Gómez-Moreno, “Sobre el Renacimiento en Castilla II. La Capilla
74Gomez-Moreno, Diego Siloe, p. 58
Real de Granada.” Archivo Espanol de Arte y Arqueologia. 1, no. 3 (1925): 245-288.
75 “Illustrious sire: it is time that you looked again and those of us who are mired in
44 M. Estella, “Domenico Fancelli,” Oxfort Art Online, updated 26 May
this vale of tears, especially at me as I am in so much need; because of this I have
2010, accessed 1 December 2016. http://www.oxfordartonline.
eaten up my wife’s dowry and I have nothing left but to buy clothes, and it weighs
com.ezproxy2.londonlibrary.co.uk/subscriber/article/grove/art/
on me heavily that I am in this situation in your service… and I have ended up in
T027486?q=Domenico+Fancelli&search=quick&pos=2&_start=1#firsthit
the desert.” The letter seems to have worked as he was paid nearly 1,000 ducats
45 See e.g., E. Panofsky & H.W. Janson, H. W, Tomb Sculpture: its Changing Aspects from
Ancient Egypt to Bernini . H. W. Janson. ed. (London: Thames & Hudson, 1964).
although even this was not enough as far as Siloe was concerned! For the full story,
see Gomez-Moreno, Diego Siloe, p. 59-62.
This tomb was partly destroyed during the Sack of Rome. Its remains are now kept
76Gomez-Moreno, Diego Siloe, p. 63.
in the Treasury of St. Peter’s.
77 Wethey, “The Early Works of Bartolomé Ordóñez and Diego de Siloe,” The Art
46 See e.g., Gilman Proske, Castilian Sculpture, pp. 330-342.
Bulletin 25, no. 4, p. 343.
47 Estella, “Domenico Fancelli,” Oxford Art Online.
48 M. Gomez-Moreno, Las águilas del Renacimento espanol : Bartolome Ordonez, Diego Siloe,
Pedro Machuca, Alonso. Berruguete (Madrid:, 1941), p. 2.
49 Book II includes the “Table of the Famous Modern Painters Whom They Call
Eagles.” See F. de Hollanda, On Antique Painting (University Park, PA: Pennsylvania
State University Press, 2013). Pedro Machuca, the fourth “eagle,” was mainly an
architect and painter so falls outside the scope of this study.
50 M. Gomez-Moreno, Diego Siloe: Homenaje en el IV centenario de su muerte (Granada:
Universidad de Granada, 1963), p. 16.
51 As Rosario Coppel points out with reference to Pollaioulos’s Saint Sebastian, there
were, however, subtle compositional differences between these figures , and the figure
in Naples is most similar to those by Michelangelo.
52 See e.g., C. Morte García, “Carlos I y los artistas de corte en Zaragoza: Fancelli,
Berruguete y Bigarny,” Archivo Español de Arte 64, no. 255 (1991), pp. 317-335.
53 See above, note 6.
54 M. Carbonnel i Buades, “Bartolomé Ordóñez i el cor de la catedral de Barcelona,”
Locus Amoenus 5 (2000-2001), pp. 117-147. This author provides a full bibliography
on the historiography concerning Ordóñez’s arrival in the peninsula, a subject which
has been the source of considerable debate.
34
35





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