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7 articles
Article
Bronzino’s portrait of Cosimo I de’ Medici in armour re-examined
01/2023 | 1438 | 165
Pages: 4-15
related names
Author:
Dredge, Paula (Dredge, Paula)
Author:
Gérard-Austin, Anne (Gérard-Austin, Anne)
Author:
Howard, Daryl (Howard, Daryl)
Author:
Ives, Simon (Ives, Simon)
Subjects
artists:
dates:
Illustrations
Attributed works:
1. Cosimo I de’ Medici in armour, by Agnolo Bronzino. c.1545. Oil on poplar panel, 86 by 66.8 cm. (Art Gallery of New South Wales, Sydney; © Art Gallery of New South Wales, Diana Panuccio).
Attributed works:
10. Detail of the XRF copper map of Fig.1, showing an inscribed horizontal line on the lower-right side passing through the broncone and the additional leaves of the side branch. (© Art Gallery of New South Wales).
Attributed works:
11. Detail of the XRF lead map of Fig.1, showing an inscribed horizontal line on the lower-right side passing through the broncone and the additional leaves of the side branch. (© Art Gallery of New South Wales).
Attributed works:
12. XRF scan mapping the distribution of arsenic in Fig.1. (© Art Gallery of New South Wales).
Attributed works:
13. XRF scan mapping the distribution of copper in Fig.1. The black and white arrows indicate the green copper-based azurite pigment embedded into the indentation left in the surface after inscribing lines and the painting out of armour at the waist in preparation for cutting the panel. (© Art Gallery of New South Wales).
Attributed works:
14. Detail of Fig.8, showing an inscribed horizontal line on the lower-left side with removal of lead. (© Art Gallery of New South Wales).
Attributed works:
15. Paint cross section outside the inscribed line showing two phases of blue/green azurite crystals, one circled in white.
Attributed works:
15–17. Paint cross sections and SEM backscattered electron images of the painting illustrated in Fig.1. Locations of sample sites are indicated by the white letters in Fig.18.
Attributed works:
16. Paint cross section of the green background inside the inscribed area showing a single phase of azurite crystals.
Attributed works:
17. Paint cross section on the shoulder showing a thin layer of leadbased paint from armour with grey/green background from the l ower painting and a two-phase azurite pigment circled in white. (© Art Gallery of New South Wales, Paula Dredge).
Attributed works:
18. Purple indicates the areas of copper-based azurite background containing arsenic (outside the inscribed line and upper shoulder). Red indicates the area of copper-based azurite background that does not contain arsenic. Green indicates the area of copper-based azurite background not containing arsenic but repainted. (© Art Gallery of New South Wales, Paula Dredge).
Attributed works:
19. Composite XRF scan map of Fig.1 showing mercury (red) and iron (green). (© Art Gallery of New South Wales).
Attributed works:
2. Cosimo I de’ Medici in armour, by Agnolo Bronzino. 1543. Oil on panel, 71 by 57 cm. (Galleria degli Uffizi, Florence; Bridgeman Images).
Attributed works:
20. Red line trace of all features present in the infra-red image and XRF iron, copper, lead and mercury maps of Fig.1 that are not visible on the painting. (© Art Gallery of New South Wales, Simon Ives).
Attributed works:
21. Portrait of Cosimo I de’ Medici, half-length, in a black slashed doublet and a plumed hat, holding a book, by Jacopo Pontormo. c.1537– 38. Oil (or oil and tempera) on panel, 100.6 by 77 cm. (Private collection; Bridgeman Images).
Attributed works:
22. Head of a man, by Agnolo Bronzino. c.1550–55. Black chalk on paper, 13.8 by 10.3 cm. (J. Paul Getty Museum, Los Angeles).
Attributed works:
23. Fig.22 superimposed on the face of the Sydney lower painting red line trace in Fig.20. (Photograph © Art Gallery of New South Wales, Simon Ives).
Attributed works:
24. Portrait of a young man, by Agnolo Bronzino. 1550–55. Oil on panel, 85.73 by 68.58 cm. (Nelson-Atkins Museum of Art, Kansas City), and Fig.20 superimposed. (Photograph © Art Gallery of New South Wales, Simon Ives).
Attributed works:
3. Macro photograph of Fig.1, showing a copying error in which the top edge of the helmet has been drawn (placement indicated with white arrows) but mistakenly painted as background. (© Art Gallery of New South Wales, Diana Panuccio).
Attributed works:
4. Macro photograph of Fig.1, showing the reflection of the red ribbon on the proper left rondel. The ridges of red lake paint suggest they were dabbed, leaving the impression of a fingerprint in the paint. (© Art Gallery of New South Wales, Diana Panuccio).
Attributed works:
5. Digital X-radiograph of Fig.1. (© Art Gallery of New South Wales, Paula Dredge).
Attributed works:
6. Detail of infra-red reflectogram of Fig.1. (© Art Gallery of New South Wales, Paula Dredge).
Attributed works:
7. Infra-red reflectogram of Fig.1 with placement of incised lines indicated with white arrows. (© Art Gallery of New South Wales, Paula Dredge).
Attributed works:
8. XRF scan mapping the distribution of lead in Fig.1. (© Art Gallery of New South Wales).
Attributed works:
9. XRF scan mapping the distribution of mercury in Fig.1. (© Art Gallery of New South Wales).
Article
The house and collection of Giuliano, Antonio and Francesco da Sangallo
08/2021 | 1421 | 163
Pages: 668-705
related names
Author:
Röstel, Alexander (Röstel, Alexander )
Subjects
sources:
Illustrations
Attributed works:
1. Simonetta Vespucci as Cleopatra, by Piero di Cosimo. c.1480–1500. Tempera on panel, 57 by 42 cm. (Musée Condé, Chantilly).
Attributed works:
10. Ground plan of the house of the architect, from Filarete: Libro architettonico. c.1460–64. (Biblioteca Nazionale Centrale, Florence).
Attributed works:
11. Note by Leonardo da Vinci (sixth line from bottom, inverted), from a page in the Codex Arundel, probably referring to a sculpture in the Casa Sangallo. c.1500–03. Pen and ink on paper, 20.5 by 29 cm. (British Library, London).
Attributed works:
12. Statue of a Roman consul excavated in Florence in 1529. (From V. Borghini: Discorsi, Florence 1584).
Attributed works:
13. Giuliano da Sangallo and Francesco Giamberti, by Piero di Cosimo. c.1480–90. Oil on panel, each panel 47.5 by 33.5 cm. (Rijksmuseum, Amsterdam).
Attributed works:
14. Leonardo Buonafede, by Francesco da Sangallo. c.1545–50. Red chalk on paper, 32.2 by 26.1 cm. (British Museum, London).
Attributed works:
15. Building of a palace, by Piero di Cosimo. c.1480–90. Oil on panel, 77.4 by 197 cm. (John and Mable Ringling Museum, Sarasota; Scala Archives).
Attributed works:
17. Taddeo di Gaddo, Gaddo di Zanobi and Agnolo di Taddeo Gaddi, attributed to the workshop of Fra Angelico. c.1425–30. Tempera on panel, 47 by 89 cm. (Galleria degli Uffizi, Florence).
Attributed works:
19. Virgin and Child with St John and an angel, by workshop of Sandro Botticelli. c.1490. Tempera on poplar, diameter of painting 84.5 cm. (National Gallery, London).
Attributed works:
2. Detail of the Pianta della Catena, by Lucantonio degli Uberti, based on an engraving by Francesco Rosselli, showing Borgo Pinti visible behind SS. Annunziata and the Ospedale degli Innocenti. c.1490–1510. Woodcut, 57.8 by 131.6 cm. (Kupferstichkabinett der Staatlichen Museen zu Berlin– Preußischer Kulturbesitz; photograph Jörg P. Anders).
Attributed works:
20. Roman consul. First century AD, with later restorations. Marble. (Palazzo Gondi, Florence).
Attributed works:
21. Three female figures with four putti, attributed to Giuliano da Sangallo. c.1490. Pen and ink, with brown wash, heightened with lead white partly oxidised, on an orange-red ground on paper, 27.2 by 40.1 cm. (GDSU, Florence).
Attributed works:
22. Allegory of abundance or autumn, by Sandro Botticelli. c.1480–85. Pen and brown ink, with brown wash, heightened with white, over black and red chalk on an orange-red ground on paper, 31.7 by 25.2 cm. (British Museum, London).
Attributed works:
23. The rape of Europa, by Giovanni Francesco Rustici. c.1495. Glazed terracotta, 32.7 by 40.3 by 5 cm. (Victoria and Albert Museum, London).
Attributed works:
24. The rape of Europa, by the workshop of Filippino Lippi. c.1495. Black chalk with white heightening on paper, 14.5 by 15.6 cm. (GDSU, Florence).
Attributed works:
25. Acquaio, by Simone Mosca. 1527–34. Sandstone (pietra serena), height 495.3 cm. (Metropolitan Museum of Art, New York).
Attributed works:
26. Europa, formerly attributed to Giuliano da Sangallo, now attributed to Raffaellino del Garbo. c.1495. Pen, iron gall ink and white lead on paper, 14 by 19.3 cm. (Biblioteca Ambrosiana, Milan).
Attributed works:
27. Killing of a bull, by Giuliano da Sangallo. c.1490–1513, Pen and ink on paper. (Biblioteca Comunale degli Intronati, Siena).
Attributed works:
27. Killing of a bull, by Giuliano da Sangallo. c.1490–1513, Pen and ink on paper. (Biblioteca Comunale degli Intronati, Siena).
Attributed works:
29. Studies of Ionic capitals, by Antonio da Sangallo the Younger. c.1530–45. Pen and brown ink on paper, 35.7 by 28.7 cm. (GDSU, Florence).
Attributed works:
3. Plan of a proposed Medici villa on via Laura, Florence, by Giuliano da Sangallo and Antonio da Sangallo the Elder, with Borgo Pinti running vertically on the right-hand side, inscribed ‘via dapintti’ and the Casa Sangallo to the right of ‘via’, c.1512–15. Black chalk, pen and ink, brush and ink washes on paper, 69.4 by 63.9 cm. (Gabinetto dei Disegni e delle Stampe delle Gallerie degli Uffizi, Florence, hereafter GDSU; inv. no.282 A).
Attributed works:
3. Plan of a proposed Medici villa on via Laura, Florence, by Giuliano da Sangallo and Antonio da Sangallo the Elder, with Borgo Pinti running vertically on the right-hand side, inscribed ‘via dapintti’ and the Casa Sangallo to the right of ‘via’, c.1512–15. Black chalk, pen and ink, brush and ink washes on paper, 69.4 by 63.9 cm. (Gabinetto dei Disegni e delle Stampe delle Gallerie degli Uffizi, Florence, hereafter GDSU; inv. no.282 A).
Attributed works:
30. Study of an ancient vault in Rome, by Giuliano da Sangallo. c.1490–1513. Pen and ink on paper. (Biblioteca Comunale degli Intronati, Siena).
Attributed works:
31. Crucifix, by Francesco da Sangallo. c.1535–40. Wood, 184 by 178 cm. (S. Maria Nuova, Florence; photograph courtesy Gianluca Amato).
Attributed works:
32. Cosimo de’ Medici with Florentine artists, by Giorgio Vasari. 1550s. Fresco. (Palazzo della Signoria, Florence).
Attributed works:
33. Preparatory design for the cenotaph of John Hawkwood, by Paolo Uccello. c.1433–36. Silverpoint heightened in white on a prepared light green ground, squared with a stylus for transfer, on paper, 46.1 by 33.3 cm. (GDSU, Florence).
Attributed works:
34. Virgin with the Christ Child, by Francesco da Sangallo. c.1540–45. Terracotta, 84 by 98.5 by 20 cm. (Skulpturensammlung und Museum für Byzantinische Kunst, Staatliche Museen zu Berlin; photograph Jörg P. Anders).
Attributed works:
35. Self-portrait, by Francesco da Sangallo. c.1570. Bronze, diameter 9.65 cm. (National Gallery of Art, Washington).
Attributed works:
36. St John baptising, by Francesco da Sangallo. c.1535–38. Bronze, height 53 cm. (Frick Collection, New York).
Attributed works:
37. Design for the high altar of Florence Cathedral, by Francesco da Sangallo. c.1546. Pen and brown ink on paper, 22.5 by 27.4 cm. (GDSU, Florence).
Attributed works:
38. Virgin and Child with St Anne, by Francesco da Sangallo. c.1522–26. Marble. (Orsanmichele, Florence; Scala Archives).
Attributed works:
39. Giovanni dalle Bande Nere, by Francesco da Sangallo. c.1550–60. Marble, height 76 cm. (Museo Nazionale del Bargello, Florence).
Attributed works:
4. Detail of a ground plan of a house, possibly a design for the Casa Sangallo, attributed to Francesco da Sangallo. c.1510–40. Black chalk on paper. (GDSU, Florence).
Attributed works:
40. Giovanni dalle Bande Nere, by Francesco da Sangallo. c.1570. Bronze, diameter 9.29 cm. (National Gallery of Art, Washington).
Attributed works:
41. Design for an equestrian monument to Giovanni dalle Bande Nere, by Francesco da Sangallo. c.1540–60. Pen and ink on paper, 24.8 by 24.4 cm. (GDSU, Florence).
Attributed works:
42. Astrology, by Giambologna. c.1575. Red wax, height 14.6 cm. (Metropolitan Museum of Art, New York).
Attributed works:
5. Ground plan of the Casa Sangallo before 1576. (Alexander Röstel and Marta Castellini, based on a plan by Gianluca Belli, 2017).
Attributed works:
6. Palazzo Ximenes-Panciatichi, formerly the Casa Sangallo, Borgo Pinti, Florence.
Attributed works:
7. Detail of Nova pulcherrimae civitatis Florentiae topographia accuratissime delineata, by Stefano Buonsignori, showing the Sangallo property above the number 180. 1584. Etching. (Museo di Palazzo Vecchio, Florence).
Attributed works:
8. Barrel vault in the Salone di Leone X, Villa Medici, Poggio a Caiano, designed by Giuliano da Sangallo. c.1510. (Bridgeman Images).
Attributed works:
9. Barrel vault in the Palazzo Ximenes-Panciatichi, Florence, designed by Giuliano da Sangallo. c.1490–1500. Stucco. (Photograph the author).
Attributed works:
the listing is known. The contents of the scrittoio can therefore only be reconstructed tentatively. Drawings, such as those in the Codex Geymüller, initiated by Antonio the Elder and expanded by Francesco well into the 1540s, were probably stored there, and these might have included works by other artists.202 The Codex Barberiniano (Biblioteca Apostolica Vaticana), a folio volume of architectural drawings by Giuliano later annotated by Francesco, is first documented in the collection of Benedetto di Bartolomeo Gondi in 1609, just a few years after the sale of the Casa Sangallo.203 Like the existence of copies of the drawings in the Codex Barberiniano, this provenance suggests that architectural drawings by the Sangallos became coveted items for collectors and practitioners alike. It is known, for example, that Lorenzo Sirigatti, who published a book on perspective in 1596, owned a ‘framed perspectival drawing by Sangallo’.204 Francesco’s only securely attributed bronze sculpture is St John baptising, made for the holy water font of S. Maria delle Carceri, the centrally-planned church in Prato designed by his father (Fig.36).205 His second will indicates that he owned many more, mingled with ancient examples, but none has been securely identified.206 In addition to bronze sculptures, the scrittoio collection to Francesco, see Tomasso XXV: A Celebration of Notable Sales, London 2018, pp.58–59. 207 On Francesco’s medallic selfportraits, see Donetti, op. cit. (note 60), pp.103–21; see also Middeldorf, op. cit. (note 68), pp.124–28 and 138. 208 Donetti, op. cit. (note 60), p.106. For an example of the medal dated 1551 with Francesco on the obverse and his wife on the reverse, see Museo Nazionale del Bargello, Florence, inv. no.6233. 209 I. Lavin: ‘Divine grace and the remedy of the imperfect: Michelangelo’s signature on the St Peter’s Pietà’, Artibus et historiae 34 (2013), pp.277–328. 210 For an overview, including a partial translation of the Martelli letters, see P. Attwood: Italian Medals c.1530–1600 in British Public Collections, London 2003, I, pp.330–34, II, pls.166–72; for a complete transcription, see Waldman, op. cit. (note 182), pp.103–04. See also Donetti, op. cit. (note 19), pp.89–90. 211 For references to books owned by artists of the Florentine Renaissance, see Carl, op. cit. (note 200); D. Covi: ‘Four new documents concerning Andrea del Verrocchio’, Art Bulletin 48 (1966), pp.97–103; A. Decaria: ‘Un copista di classici italiani e i libri di Luca della Robbia’, Rinascimento 47 (2007), pp.243–87; and Z. Sarnecka: ‘Luca della Robbia and his books: the Renaissance artist as devotee’, Artibus et historiae 37 (2016), pp.291–301. See also F. Ames- Lewis: The Intellectual Life of the Early Renaissance Artist, New Haven and London 2000. 212 For the unlikely possibility that Giuliano and Francesco da Sangallo owned, annotated and illustrated a copy of the editio princeps of Cristoforo Landino’s commentary on Dante’s Divine Comedy in the Biblioteca Vallicelliana, Rome, see Degenhart, op. cit. (note 38), pp.101– 287; and Gamberini, op. cit. (note 185), pp.169–91, at p.174. For copies of Pliny’s Natural History available in fifteenth-century Florence, see R. Brennan: ‘Between Pliny and the trecento: Ghiberti on the history of painting’, in F. Jonietz, W.-D. Löhr and A. Nova, eds: Ghiberti Teorico: Natura, arte e coscienza storica nel Quattrocento, Milan 2019, pp.43–60, at p.43, note 12. 36. St John baptising, by Francesco da Sangallo. c.1535–38. Bronze, height 53 cm. (Frick Collection, New York).
Western art unattributed:
16. Five masters of the Florentine Renaissance. c.1490–1510. Oil on wood, 65.5 by 213 cm. (Musée du Louvre, Paris).
Book Review
Paolo Giovio: The Historian and the Crisis of Sixteenth-Century Italy
07/1997 | 1132 | 139
Pages: 487
related names
Reviewer:
Aleci, Linda S. (Aleci, Linda S.)
Subjects
collectors and dealers:
Reviewed Items
subjects:
Paolo Giovio: The Historian and the Crisis of Sixteenth-Century Italy | author: Zimmermann, T. C. Price
Publication Received
Atti del Convegno. Paolo Giovio. Il Rinascimento e la memoria (Como 3-5 giugno 1983)
07/1989 | 1036 | 131
Pages: 494
Subjects
Reviewed Items
subjects:
Atti del Convegno. Paolo Giovio. Il Rinascimento e la memoria (Como 3-5 giugno 1983) | :
Short Notice
'Blessed Be the Hand of Bronzino': The Portrait of Cosimo I in Armour
06/1987 | 1011 | 129
Pages: 387-388
related names
Author:
Simon, Robert B. (Simon, Robert B.)
Subjects
artists:
collectors and dealers:
dates:
places:
subjects:
Illustrations
Attributed works:
44. X-Ray of Portrait of Cosimo I de' Medici, by Agnolo Bronzino. Panel, 86 by 67 cm. (Private Collection).
Attributed works:
45. Line Drawing Showing Figure Visible beneath Bronzino's Portrait of Cosimo I de' Medici, in the X-Ray in Fig.44.
Attributed works:
46. Detail of Fig.44. [X-Ray of Portrait of Cosimo I de' Medici, by Agnolo Bronzino. Panel, 86 by 67 cm. (Private Collection).]
Article
'Candor Illaesvs': The 'Impresa' of Clement VII and Other Medici Devices in the Vatican Stanze
10/1977 | 895 | 119
Pages: 676-687
related names
Author:
Perry, Marilyn (Perry, Marilyn)
Subjects
artists:
patrons:
places:
subjects:
Illustrations
Attributed works:
10. Putti with Arms of Julius II. (Stanza di Eliodoro, Vatican).
Attributed works:
11. Putti with Medici Devices. (Stanza di Eliodoro, Vatican).
Attributed works:
12. Svave Voke. Window Embrasure. (Stanza Della Segnatura, Vatican).
Attributed works:
13. Medici Devices Carved on Wooden Window Shutter. [Executed by Giovanni Barile, on Raphael's instructions.] Stanza Dell'Incendio, Vatican).
Attributed works:
14. Lothair with Medici Arms. (Stanza Dell'Incendio, Vatican).
Attributed works:
15. Svave Caryatids. (Sala di Costantino, Vatican).
Attributed works:
16. Sala di Costantino, Vatican, View of East Wall to Original Height of Ceiling.
Attributed works:
17. Candor Illaesvs Caryatids. (Sala di Costantino, Vatican).
Attributed works:
18. Clement VII's Impresa. Window Embrasure. (Sala di Costantino, Vatican).
Attributed works:
19. Medici Arms, Caryatid and Putti with Medici Devices. Window Wall. (Sala di Costantino, Vatican).
Attributed works:
2. Religion Tapestry for Papal Throne, by Felice Cettomai at San Michele a Ripa, Rome, 1787. (Vatican).
Attributed works:
20. Candor Illaesvs Impresa Dado. (Sala di Costantino Vatican).
Attributed works:
3. Religion Tapestry for Papal Throne, by Pieter von Aelst. Brussels, c.1530. (Vatican Museum).
Attributed works:
4. Central Frieze of Canopy of Religion Tapestry Illustrated in Fig.3. [by Pieter von Aelst. Brussels, c.1530. (Vatican Museum).]
Attributed works:
5. Clement VII's Impresa from Le Sententiose Imprese di Mon. Paolo Giovio, 1562.
Attributed works:
6. Impresa of Duke Lorenzo de' Medici, from Le Sententiose Imprese di Mon Paolo Giovio, 1562.
Attributed works:
7. Leo X's Impresa, from Le Sententiose Imprese di Mon. Paolo Giovio, 1562.
Attributed works:
8. Impresa of Lorenzo il Magnifico from Le sententiose Imprese di Mon. Paolo Giovio, 1562.
Attributed works:
9. Putti with Papal Shield. [Attributed to Bramantino.] Ceiling Octagon. (Stanza Della Segnatura, Vatican).
Article
Two Portraits of Mehmet II
07/1932 | 352 | 61
Pages: 2+4-7
related names
Author:
Gray, Basil (Gray, Basil; G., B.; Gray, B.)
Subjects
artists:
dates:
places:
places:
subjects:
Illustrations
Attributed works:
Mehmet II. Here Identified as by Costanzo da Ferrara. Miniature, 26 by 21 cm. (Serai Library, Istanbul)
Attributed works:
Plate II. A-Mehmet II. Here Identified as a Copy after Gentile Bellini. Miniature, 39 by 27 cm. (Serai Library, Istambul). Two Portraits of Mehmet II
Attributed works:
Plate II. B-Mehmet II. Cut in Paolo Giovio's "Vitæ illustrium Virorum." 11 by 8.5 cm.; C-Mehmet II. Medal by Costanzo da Ferrara. Diameter, 123 mm. Two Portraits of Mehmet II