CF STUDIES JOURNAL 09 - Flipbook - Page 114
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A gamechanger for Giorgione
A gamechanger for Giorgione
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My thanks to Stefania Mason for telling me about
the last drawing by Palma il Giovane, to Jane Stevens
Crawshaw for sharing her knowledge of the plague in
Venice and to Roberto Sgarbossa for photographing
Catena’s will during lockdown.
Jaynie Anderson, Kim Wilson, Nerida Newbigin,
and Julie Sommerfeldt, “Giorgione in Sydney,” The
Burlington Magazine 161 (2019): pp. 190-199; “Letter
to the Editor,” The Burlington Magazine 161 (2019): pp.
800-801.
Some recent discussion in the popular press is analyzed
by Piermario Vescovo, “Tra Sydney e Castelfranco. Note
giorgionesche,” Arte veneta 76 (2019): pp. 188-194.
Salvatore Settis, “Deeper Thoughts: Beyond the
allegory of Bellini, Giorgione and Titian,” https://
www.nationalgallery.org.uk/whats-on/linburylecture-2020 (accessed 6 April 2021).
Enrico Maria dal Pozzolo, “Giorgone. Una scritta da
Sydney riapre il mistero della sua vita,” La Tribuna di
Treviso, 26 March 2019, p. 36.
Vescovo, “Tra Sydney e Castelfranco,” p. 188 n. 5.
For further discussion see Anderson et al., “Giorgione
in Sydney,” p. 192.
Vescovo, “Tra Sydney e Castelfranco,” p. 188 n. 4.
Venetian Disegno: New Frontiers, conference held at the
Warburg Institute, London, 20-21 May 2021.
For further discussion of the relationship between
the drawing and underdrawing see Anderson et al.,
“Giorgione in Sydney,” pp. 194-197.
See Jaynie Anderson, Giorgione. The Painter of ‘Poetic
Brevity’ (Paris and New York: Flammarion, 1997),
pp. 148-160. Still invaluable for the collection of
documents about Giorgione’s patrons, is the article by
Donata Battilotti and Maria Teresa Franco, “Registi
di Committenti e dei primi collezionisti di Giorgione,”
Antichità Viva 17:4-5 (1978): pp. 58-86.
Julia Cartwright, Isabella dʼEste, Marchioness of Mantua,
1474 to 1539: A Study of the Renaissance, 2 vols. (London:
John Murray, 1903), II, p. 13.
Cecil Clough, “Pietro Bembo’s Gli Asolani of 1505,”
Modern Language Notes 84:1, The Italian Issue (1969): pp.
16-45, esp. pp. 32-33.
Angelo Lo Conte, The Procaccini and the Business of
Painting in Early Modern Milan (New York and London:
Routledge, 2021), p. 91
Lino Pertile, Dante popolare (Ravenna: Angelo Longo, 2021).
A couple more (less impressive) images are in Peter
Brieger, Millard Meiss and Charles S. Singleton,
Illuminated Manuscripts of the Divine Comedy (Princeton:
Princeton University Press, 1969): Paris, Bibliothèque
de l’Arsenal Ms-8530, fol. 172r (Italian, mid-fourteenth
century) and (formerly) Norfolk, Holkham Hall MS.
514 (now Oxford, Bodleian Library, as MS. Holkham
misc. 48,), p. 146.
Carlo Vecce, La Biblioteca di Leonardo (Florence: Giunti,
2021), see especially pp. 297-300.
Jane Campbell-Hutchison, Albrecht Dürer: A Biography
(Princeton: Princeton University Press, 1990), p. 50.
The best account of Dürer’s library is by Thomas Eser,
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25.
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27.
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31.
32.
33.
34.
35.
“Dürer und das Buch: Facetten einer Beziehung,”
in Heilige und Hasen: Bücherschätze der Dürerzeit, eds.
Thomas Eser and Anja Grebe, exh. cat. (Nuremberg:
Germanisches Nationalmuseum, 2008), pp. 31-43.
See Thomas Eser’s catalogue entry in Eser and Grebe,
Heilige und Hasen, pp. 56-57. For a more detailed
analysis, see Noam Andrews, “Albrecht Dürer’s
personal Underweysung der Messung,” Word & Image
32:4 (2016): pp. 409-429.
Munich, Bayerische Staatsbibliothek, 4 L.impr.c.n.mss.
119, fol. 89bv.
See the extensive online catalogue entry at https://
www.nga.gov/exhibitions/2014/library-marginalia.
html (accessed July 2021).
Publius Vergilius Maro, Opera (Venice: Antonio di
Bartolomeo Miscomini, October ‘1486’ [i.e., 1476]);
London, British Library, C.19.e.14 = IB.20448
(ISTC no. iv00167000). This manuscript in the BL
was signed by Giulio Romano in Latin, as discussed
by Lilian Armstrong in The Painted Page: Italian
Renaissance Book Illumination 1450-1550, ed. Jonathan
J. Alexander, exh. cat. (London: Royal Academy
of Arts; New York: The Pierpont Morgan Library,
1994-1995), no. 90, pp. 182-183.
Massimo Bulgarelli et al., eds., Leon Battista Alberti e
l’architettura (Milan: Silvana, 2006), see pp. 220-221
for Giulio Romano’s signature in Italian on the 1485
Florence edition of Alberti.
Javier Docampo and José Riello, eds., La Biblioteca del
Greco, exh. cat. (Madrid: Museo Nacional del Prado,
2014).
Marco Ruffini, “Sixteenth-Century Paduan
Annotations to the First Edition of Vasari’s ‘Vite’
1550,” Renaissance Quarterly 62 (2009): pp. 748-808.
Hans Tietze and Erica Tietze-Conrat, The Drawings
of the Venetian Painters in the Fifteenth and Sixteenth Centuries
(New York: J. J. Augustin Publisher, 1944), no. 1178, p.
222, pl. CLXXXIII. Their reading of the inscription is
followed here.
“E poco prima d’esalare lo spirito chiese da scrivere;
ed essendogli recato il lapis, benchè fosse agonizzante,
così noto.” Carlo Ridolfi, Le maraviglie dell’arte ovvero le
vite degli illustri pittori Veneti e dello stato. Edizione seconda
(Padua: Cartallier, 1835), p. 428.
Maria Aresin, “Scriptures and Scribbles in Palma il
Giovane’s drawings,” lecture at the conference Venetian
Disegno: New Frontiers, Warburg Institute, London, 20
May 2021.
Ileana Chiappini Di Sorio,“Le ultime volontà di
Giacomo Palma il Giovane,” Notizie di Palazzo Albani 2
(1979): pp. 61-66.
Chiappini Di Sorio, “Le ultime volontà,” p. 65.
Erica Tietze-Conrat, “Titian as a Letter Writer,” The
Art Bulletin 26 (1944): pp. 117-123.
Lionello Puppi, ed., Tiziano. L’Epistolario (Florence:
Alinari, 2012).
Reproduced in Puppi, L’Epistolario, p. 161.
Matthias Wivel et al., Michelangelo & Sebastiano, exh. cat.
(London: National Gallery, 2017), Letters, pp. 225-237,
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44.
especially p. 224 for a reproduction of Sebastiano’s
letter of 3 July 1525.
Gonaria Floris and Luisa Mulas, eds., Lettere a Pietro
Aretino, 3 vols. (Rome: Bulzoni Editore, 1997).
Floris and Mulas, Lettere a Pietro Aretino, II, nos. 154
and 155, pp. 146-8.
Floris and Mulas, Lettere a Pietro Aretino, II, nos. 10, 11
12, pp. 10-14.
Floris and Mulas, Lettere a Pietro Aretino, II, nos. 259,
268.
For the transcription of Catena’s wills, see Gustav
Ludwig, “Archivalische Beiträge zur Geschichte
der Venezianischen Malerei,” Jahrbuch der Königlich
Preußischen Kunstsammlungen 26 (1905), Beiheft: pp. 1-159,
especially p. 82.
Marzia Faietti, “Frammenti di Cieli sulle Carte:
L’Antico decontestualizzato,” in I cieli in una stanza.
Soffitti lignei a Firenze e a Roma nel Rinascimento, eds.
Claudia Conforti et al., exh. cat. (Florence: Gallerie
degli Uffizi, 2019), pp. 48-57, see fig. 2. The drawing
can also be found via the Uffizi online catalogue:
https://euploos.uffizi.it/inventario-euploos.php?invn
=129+O+di+%C2%ABAnonimo+Italia+settentrion
ale+fine+sec.+XV%C2%BB#opimages-45919ng1-1
(accessed 23 July 2021).
For the altarpiece, see Sergio Claut, “Lorenzo Luzzo
oltre Giorgione,” in Petriciolijev Zbornik (Raccolta di saggi
in onore di I. Petricioli), ed. J. Belamarić, Prilozi povijesti
umjetnosti u Dalmaciji 36/1 (1996): pp. 205-221. For an
overview of his life, see Laura di Calisto, “Lorenzo
Luzzo,” in Dizionario biografico degli Italiani 66 (Rome:
Trecanni, 2006).
For the most recent account of Giorgione’s Nude, see
Sandra Rossi and Silvia Benassai in Il Rinascimento di
Pordenone con Giorgione, Tiziano, Lotto, Correggio, Bassano e
Tintoretto, eds. Caterina Furlan and Vittoria Sgarbi, exh.
cat. (Pordenone: Galleria d’Arte Moderna and Museo
Civico d’arte, 2019), pp. 152-155.
Jane Stevens Crawshaw, Plague Hospitals: Public Health
for the City in Early Modern Venice (London: Taylor
and Francis, 2012), esp. chapter 5, “Dying in the
Lazaretti”.
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