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Index
References to figures are in bold.
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role of drawing in, 6, 78, 83, 85, 90,
91–9, 100–102, 116
role of treatises in, 6–7, 78–85, 90–91,
112, 116, 122–3
architectural design
development of St Peter’s, Rome, 9,
197–213
architectural treatises
on Eastern Adriatic, 107–9, 122–3
——antiquities, 111–22
——stones and quarries, 109–11
and the privileging of Roman
architecture, 7, 90, 118, 120, 123
and the transfer of architectural
knowledge, 6–7, 78–85, 90–91, 112,
116, 122–3
——through drawings, 91–9,
100–102, 116
Armenini, Giovanni Battista, 141
Arnold, Bishop of St Andrews, 19, 20
Artemon, 139
artistic collaboration, 7–8, 131–2, 133–5,
139–40
trinities and quartets, 136–8
in Veronese’s workshop, 9, 176, 182,
190
artistic innovation
drawing and, 7, 175–91
in histories of art, 7
artistic quartets, 138
artistic trinities, 8, 136–8
Aspetti, Tiziano, 42 n34
astronomy, 49–51, 63 n24
Athenadorus
Laocoön, 139
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Accademia Ambrosiana, 8, 139–40,
141, 143 n22
Accademia dei Concilii e di Teologia,
49
Accademia dei Lincei, 51
Accademia di San Luca, 141
Accademia Fisico-mathematica, 49–51,
63 n24
Adam, Robert, 118
Aelian, 131
Aëtion, 139
Albani, Francesco, 138
Alberti, Leon Battista, 3, 80–81, 85, 90,
91, 102, 103 nn4–6, 109
De re aedificatoria, 6, 82, 109
on stones and quarries, 91
——of Eastern Adriatic, 7, 109–10
Tempio Malatestiano, Rimini, 110
Aldrovandi, Ulisse, 48
Alessi, Galeazzo, 208
amphitheatre, Pula, 112, 114, 119, 121,
122
Amsterdam, 5
Ancona
Arch of Trajan, 118, 119
Angus, King, 20
Apelles, 139
Aracoeli
Santa Maria, 69
Arch of Augustus, Susa, 119, 126 n62
Arch of Melia Anania, Zadar, 112
Arch of Sergi, Pula, 112, 115, 118–19,
120–21, 126 n62
Arch of Trajan, Ancona, 118, 119
architects, and transfer of knowledge,
77–85
role of building sites in, 6, 81, 82–3, 85
Bacci, Andrea, 45
Barbarigo, Cristoforo, 223
© Ashgate Publishing Ltd
From Nebahat Avcioğlu and Allison Sherman (eds), Artistic Practices and Cultural Transfer in Early
Modern Italy: Essays in Honour of Deborah Howard, published by Ashgate Publishing.
See: http://www.ashgate.com/isbn/9781472443656
© Ashgate Publishing Ltd
274 artistic practices and cultural transfer in early modern italy
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Bruder Klaus Chapel, Mechernich,
Plate 9, 77
Brunelleschi, Filippo, 83, 141, 217 n42
building materials
drawings concentrating on, 91–9,
100–102
practical knowledge of, 6–7, 77–8,
80–81, 82–3, 90–91, 100–102
see also stone
building sites
and the transfer of architectural
knowledge, 6, 82, 83–4, 85, 90
building technology
drawings concentrating on, 91–9,
100–102
practical knowledge of, 6–7, 77–8,
81–5, 90–91, 100–102
Buonnani, Filippo, 49, 62 n16
Cairo, Francesco
‘Banquet of Troy made by three hands
(fatto di tre mani)’, 140, 146 n65
Caliari, Giuseppe, 175
Caliari, Paolo, see Veronese
Calzetta, Pietro
altarpiece for chapel in
Sant’Antonio, Padua, 153, 154,
158–60, 162–7
——contract for, 149–50, 150, 154,
158, 160, 161, 168 n5,
168 nn7–8, 172 n61
Campitelli
Santa Maria, 69
Capei da Gherso, Giovanni, 30, 31
Caravaggio, 138
Carpi
San Niccolo, 105 n30
Carracci, Agostino, 138
Carracci, Annibale, 138
Carracci, Lodovico, 138
Casa dei Filippini, 56
Cassiodorus, 109
Castel Sant’Angelo, Vatican, 16, 17
Castelli, Benedetto, 46
Castiglione, Baldassare, 137, 138
Cataneo, Pietro, 110
Cellini, Benvenuto, 80, 85, 103 n5
centre and periphery, 1, 2, 7
Cerano (Giovan Battista Crespi), 132,
137, 140, 141, 147 n65
Martyrdom of Saints Rufina and
Seconda (Quadro delle tre mani),
Plate 11, 8, 131–2, 133–5, 136–7,
139, 140, 141
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Barbaro, Daniele, 42 n37, 78–80, 79,
109, 110, 120
Barbarossa, Heyreddin, 234
Barberini, Maffeo, 45–6
Barberini, Taddeo, 46
Barocci, Federico, 138
Basilica di San Marco, Venice, 30–31,
36, 37, 41 n29
Basilica of the Holy House, Loreto, 158
Bassano, Jacopo, 138
Bastiani, Lazzaro
Saint Anthony of Padua Altarpiece,
158
Bedogni, Lorenzo, 158
Bellini, Giovanni
St Catherine Altarpiece, 160
Bellori, Giovanni Pietro, 138
Bernini, Gian Lorenzo, 52, 56, 65, 66
Bianchi, Isidoro
‘Banquet of Troy made by three
hands (fatto di tre mani)’, 140
Bianchini, Francesco, 49–51
Blessed John Orsini, chapel of, Trogir,
118
Bolognetti, Alberto
correspondence with Tolomeo Galli,
29, 32, 34, 38–9, 41 n26, 41 n28
Bonini, Fulippo
Il Tevere incatenato, 46
Borromeo, Carlo, 133, 139–40, 141,
144 n22, 146–7 n65
Musaeum Bibliothecae Ambrosianae,
140
Borromini, Francesco, 56, 65
Borsieri, Girolamo, 136–7, 138, 140,
145 n40
Boschini, Marco, 138
Bozza, Bartolomeo, 31
Brač
San Domenico, 32, 33
stone and quarries, 110
Bramante
designs for St Peter’s, Rome, 9,
202–5, 204, 206, 215 n9, 216 n23,
216 n26, 217 n33, 217 n44
designs for San Celso, Rome, 203
Santa Maria della Consolazione,
Todi, 205
Brueghel, Jan the Elder, 146 n65
Madonna and Children in a Garland of
Flowers, 139, 146 n63
Brijuni, 110, 111
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Crespi, Giovan Battista, see Cerano
cultural transfer, 3–4
and architectural treatises, 6
in Rome, 4–6
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d’Alemagna, Giovanni, 153, 161
d’Ancona, Ciriaco, 112
d’Arpino, Cesari (called Cavaliere), 138
da Carrara, Francesco il Vecchio, 151
da Carrara, Francesco Novello, 152
Da Mula, Marcantonio, 34
da Ponte, Nicolò, 31–2
da Sangallo family, 112
da Sangallo, Antonio the Younger,
103 n5, 104 n24
designs for and work on St Peter’s,
Rome, Plate 14, 9, 105 n30, 197,
201–2, 206, 215 n9, 216 n26,
217 n34, 217 n42, 220 n59
da Sangallo, Giuliano, 215 nn9–10,
216 n26, 217 n42
da Vinci, Leonardo, 141, 238
carving stone, 83
Holy Family with Saints Anne and the
Baptist, 140
dall’Arzere, Stefano
Resurrection in Sant’Antonio’s
basilica, Padua, 157, 157, 158
Dalmatia, 107–9, 116, 120, 122
monuments of, 7
stone and quarries of, 110, 111
David I, King of Scots, 18
de Granvelle, Antoine Perrenot, 228, 229
de la Cava, Onofrio, 122
de Lazara family, 151–8, 169 n26
allied to Venice, 151–2, 153, 158, 163
relationship to Sant’Antonio, Padua,
151–3, 154–8, 169 n23
de Lazara, Bernardo, 152–3, 169 n26
chapel in San Lorenzo, Conselve,
153–4
altarpiece for chapel in
Sant’Antonio, Padua, 8, 153, 154,
158–60, 162–7
——contract for, 149–50, 150, 154,
158–62, 168 n5, 168 nn7–8,
172 n61
de Lazara, Bernardo the elder, 151
de Lazara, Francesco, 158
de Lazara, Giovanni, 158
de Lazara, Giovanni di Nicolò, 158
de Lazara, Leone, 152–3, 154, 160–61,
163, 164, 166
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Oratorio di S. Bernardino alle Ossa,
Milan, 133
Quadroni for Carlo Borromeo’s
canonisation, 133
Sacro Monte, Varallo, 133
San Giuseppe, Milan, 133
Santa Maria Presso San Celso, Milan,
133
Tribunale di Provvisione, Milan, 133
Cesi, Federico, 51
Charles V, Emperor, 190, 228–9, 232 n38
chiaroscuro, 8, 175–91
Ciampini, Giovanni Giusto, 49–51
Vetera Monumenta, 49
Cipriani, Sebastiano, 72 n16
Palazzo Colonna ai Santi Apostoli,
Rome, 66
Palazzo Mancini, Rome, Plate 8, 6,
66–8, 67, 68, 71
Palazzo Marescotti Ruspoli,
Vignanello, 67
Palazzo Marucelli-Lepri, Rome, 68
Palazzo Pica Alfieri, L’Aquila, 68
San Basilio, L’Aquila, 68
Clérisseau, Charles-Louis, 116
Codex Zichy, 112
collaboration, see artistic collaboration
Colonna, Contestabile Lorenzo
Onofrio
Palazzo Mancini, Rome, 66–7, 69
Colonna, Francesco
Hypnerotomachia Poliphili, 112
Colonna, Vittoria, 10, 233, 234
Colosseum, Rome, 119
Comin, Jacopo, see Tintoretto
Condivi, Ascanio, 82
Conselve
San Lorenzo, 153–4
Contini, Giovan Battista
Palazzo Colonna ai Santi Apostoli,
Rome, 66
Palazzo Mancini, Rome, Plate 6,
66–7, 68, 71
Corinthian order, 7, 118–19, 121
Correggio, Antonio da, 138, 139, 145 n40
Love of the Gods, 229
Cort, Cornelis, 190
Cortona, 138
Cotrugli, Benedetto, see Kotruljević,
Benedikt
Crasso, Niccolò, 223, 226
Craterus, 139
Cresconio, Bishop of Iría, 21
Index 275
© Ashgate Publishing Ltd
From Nebahat Avcioğlu and Allison Sherman (eds), Artistic Practices and Cultural Transfer in Early
Modern Italy: Essays in Honour of Deborah Howard, published by Ashgate Publishing.
See: http://www.ashgate.com/isbn/9781472443656
© Ashgate Publishing Ltd
276 artistic practices and cultural transfer in early modern italy
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Eastern Adriatic
architectural treatises on, 107–9,
122–3
——antiquities, 111–18
——stones and quarries, 7, 109–11
Venetian rule over, 7, 107, 110, 121–3
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Eremitani, Church of, Padua
Ovetari Chapel, 160, 161
Eschinardi, Francesco, 49, 62 n19
Euphranor, 139
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Falconetto, Giovanni Maria, 116
Falda, Giovanni Battista, 47–8
Farinati, Paolo, 182, 188, 192 n10
Ferento
Roman theatre, 92–5, 94, 98, 100, 102,
104 n19, 106 n44
Ferrandi, Carlo, 143–4 n22
Ferrari, Gaudenzio, 145 n42
Filarete, Antonio Averlino, 78, 80, 85
Filiberto di Savoia, Emanuele, 31
Florence
Cathedral, 107, 208, 217 n34
privileging of, in histories of
Renaissance art, 1
San Lorenzo, 106 n45, 206
Fontana, Carlo, 46
Palazzo Colonna ai Santi Apostoli,
Rome, 66
Palazzo Mancini, Rome, Plate 7,
66–7, 68
Fontana, Domenico, 82
Forum Holitorium Doric Temple,
Rome, 95–8, 97, 100, 102, 106 n43
France
all’antica architecture in, 121, 125 n37
architectural influence on Rome, 6
Franco, Battista, 42 n34
Frederick III, Emperor, 153, 161
French Academy of Rome, 65
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de Lazara, Nicolò, 151–2, 154, 158, 163,
169 n23
de’ Medici, Cosimo III, 48
de’ Medici, Ippolito, Cardinal
admiration of Giulia Gonzaga, 10,
234, 238, 239 n6, 240 nn10–11
de Mendoza, Diego Hurtago, 228
De Rossi family, 47
de Ville, Antoine
Descriptio portus et urbis Polae, 107,
108, 120–21, 123
della Porta, Giacomo, 30
di Baccio Bigio, Nanni, 211
di Capua, Annibale
correspondence with Tolomeo Galli,
29, 30–32, 36–8, 40 n12, 40 n14
di Cosimo, Piero
The Building of a Palace, Plate 10, 83
di Cristoforo, Tarquinio, 30, 31
Diocletian, palace of, Split, 118
Domenichino, 139
Donatello, 154, 160, 163, 172 n63
Doric order, 118, 119
drawing
and artistic innovation, 7, 8–9,
175–91
and the development of St Peter’s,
Rome, 9, 85, 197–213
explorations of iconography in, 8–9,
175–91
and the transfer of architectural
knowledge, 6, 78, 84, 85, 116
——of building materials and
technology, 91–9, 100–102
du Cerceau, Jacques Androuet, 126 n62
Liber novus, 121
Quinque et vinginti exempla arcum,
120–21
Dubrovnik
aqueducts of, 122
Dupérac, Étienne
engraving and plans for St Peter’s,
Rome, 9, 197, 198, 200, 199, 201,
201, 202, 206, 208, 211–13, 212,
214 n3, 220 nn62–3
Dürer, Albrecht, 185
Galli, Tolomeo
correspondence with Alberto
Bolignetti, 29, 32, 34, 38–9, 41 n26,
41 n28
correspondence with Annibale di
Capua, 29, 30–32, 36–8, 40 n12,
40 n14
Geddy, John, Plate 3, 15
Genoa
Santa Maria di Carignano, 208
Ghiberti, Lorenzo, 141
Giorgione, 138, 238
Three Figures (attributed by Pona),
Plate 12, 138
Three Magi, 131
Gonzaga, Ercole, Cardinal, 176
Gonzaga, Giulia
as focus of Cardinal Ippolito de’
Medici’s admiration, 10, 234, 238
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Hadrian, Emperor, 24 n18
Hagesander
Laocoön, 139
Hainhofer, Philipp, 52
Halley, Edmond, 51
Halley’s comet, 49–51, 63 n24
Henri II, King, 120
Hermolaus, 139
Howard, Deborah, 10
on the Adriatic, 107, 109
British Academy, elected fellow of,
xxv
at Courtauld Institute, xix
family, xxi, xxii, xxii, xxvi–xxviii,
xxvii, xxviii
——Malcolm Longair (husband),
Plate 2, xxi, xxii, xxii, xxiii,
xxv, xxvi, xxvii, xxviii, xxviii,
xxx n26
——Mark Longair (son), xxi, xxii,
xxvii, xxviii, xxviii
——Sarah Longair (daughter), xxi,
xxii, xxvii, xxviii, xxviii
history of Renaissance
——contributions to, xix, 1–4, 15
——criticism of, 1
history of Scottish architecture, xxii,
5, 15
as journal editor, xxii
Middle East, travel in, xxiii, xxiv
the mill, interest in, 151
personal interests
——climbing the Munros, Plate 2,
xxii, xxii, xxvi, xxvii, xxx n26
——opera and classical music, xxi
PhD, xix–xxi
published works, xix–xxi
——Architectural History of Venice,
xxi, 2
——Scottish Architecture from the
Reformation to the Restoration
1560–1660, xxii
——Sound and Space in Renaissance
Venice, xxv, 2
——Venice and the East, xxiii–xxv, 2,
3–4, 109
——Venice Disputed: Marc’Antonio
Barbaro and Venetian
Architecture, xxvi, 2
at University College London, xxi
at University of Cambridge, Plate 1,
xix, xx, xxi, xxiii, xxv–xxvi
at University of Edinburgh, xxi–xxii
hydraulics and water management,
45–8, 49
Ibrahim Pasha, 234
iconography
of Mill of the Host, 8, 150, 151, 154,
158, 162–7
Tintoretto’s outdated, 34
Veronese’s explorations of, 8–9,
175–91
Ina, King of Wessex, 17
Istria, 107–9, 122
stone and quarries of, 7, 109–11
see also Pula
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portraits of
——by Sebastiano del Piombo, 10,
234–9, 236–8, 239 n6, 239 n7,
240–41 nn9–13
——by Titian, 241 n13
Grimani family, 126 n54
Grimani, Giovanni, 5, 32, 41 n26,
41–2 n29, 42 n34
efforts to become a cardinal, 34,
42 nn37–8
as patron of Tintoretto, 5, 29, 32, 34,
35, 41 n29
Index 277
Jefferson, Thomas, 56
Jerusalem
as a site of pilgrimage, 21
John II, King of Cyprus, 153
Jones, Inigo, 83–4
Kinrimund, 18, 20
Komarek, Giovanni Giacomo, 49, 62 n19
Kotruljević, Benedikt (Benedetto
Cotrugli)
Della mercatura et del mercante perfetto,
109
L’Aquila
Palazzo Pica Alfieri, 68
San Basilio, 68
Lanfranco, Giovanni, 138
Laocoön, 139
Lateran Basilica, Rome, 21, 51, 63 n24
Libreria Marciana, 175
Ligorio, Pirro
St Peter’s, Rome, 210–11
Lim, 111
lineamenta, 80–81, 85
© Ashgate Publishing Ltd
From Nebahat Avcioğlu and Allison Sherman (eds), Artistic Practices and Cultural Transfer in Early
Modern Italy: Essays in Honour of Deborah Howard, published by Ashgate Publishing.
See: http://www.ashgate.com/isbn/9781472443656
© Ashgate Publishing Ltd
278 artistic practices and cultural transfer in early modern italy
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Madonna dell’Orto, Venice, 32
Mainard the Fleming, 18
Malcolm IV, King, 20
Malvasia, Carlo Cesare, 137, 138, 139,
145 n40
Mancini, Philippe Julien
Palazzo Mancini, Rome, 65, 66–7,
68–9
Palazzo Rospigliosi, Rome, 67
Mantegna, Andrea, 154, 160, 161, 172 n63
Mantua, Duke of, 229
Mantua Cathedral, 176
Margaret, Queen, 22
Marini, Giovanni Antonio, 31
Marino, Giambattista, 133, 137, 138
Adone, 137, 138
Marone, Pietro, 138
Martini, Francesco di Giorgio, 90–91,
102, 103 n9
drawing of Arch of Melia Anania,
Zadar, 112
on stones and quarries, 91, 95, 98
Trattato di architettura civile e militare,
112
Martyrdom of Saints Rufina and Seconda,
Plate 11, 8, 131–2, 133–5, 139
Mary of Hungary, 229, 232 n32
Masaccio, 141
Mascardi, Agostino, 138
materia, 80–81, 85
Mausoleum of Augustus, San Rocco,
Rome, 98, 100, 104 n17
Mausoleum of Hadrian, Vatican, 16, 17
Maxentius, basilica of, Rome, 119
Mazarin, Jules, Cardinal, 66
Palazzo Mancini, Rome, 6, 65, 66
Palazzo Rospigliosi, Rome, 67
Mazzucchelli, Pier Francesco,
see Morazzone
Mechernich
Bruder Klaus Chapel, Plate 9, 77
Meijer, Cornelis, 3, 50
Arte di rendere i fiumi navigabili in
varij modi, 48
Arte di restituire à Roma la tralasciata
navigatione del suo Tevere, 47, 48,
61 n11, 63 n24
as astronomer, 49–51, 63 n24
as collector, 48–9
hydraulics and water management,
45–8, 49, 61 n14
Nuovi ritrovamenti, 47, 48, 51, 56–60,
61 n14, 62 n15
one-room apartment, 5, 45, 51–5,
56–60
——first wall, 52, 52, 57–8
——second wall, 52–3, 53, 58
——third wall, 53–4, 54, 58–9
——fourth wall, 54–5, 55, 56, 59–60
in Rome, 45–8
in Venice, 45
Michelangelo, 3, 138, 139, 141, 145 n40,
185, 233, 234
carving stone, 82–3
designs for rebuilding St Peter’s,
Rome, Plate 14, 9, 197–213,
198, 200, 201, 214 n3, 215 n8,
215–16 nn14–15, 217 n42,
219 nn55–6, 219–20 nn58–9
Head of a Woman, 239 n2
Palazzo dei Conservatori, Rome, 208
San Lorenzo, Florence, 106 n45, 206
Michiel, Marcantonio, 151, 154, 158
Milan
artistic collaboration in, 7–8, 131,
132, 133, 139–41
Oratorio di S. Bernardino alle Ossa,
133
San Giuseppe, 133
San Lorenzo, 199, 203, 215 n10
Santa Maria Presso San Celso, 133
Tribunale di Provvisione, 133
Milanin, Francesco, 157
Milizia, Francesco, 65
mills, 151, 162, 164–7
Mill of the Host
as subject of de Lazara altarpiece,
Padua, 8, 149, 150, 151, 154, 158,
160–61, 162–7, 173 n88
Molin, Biagio, Bishop of Pula,
Archbishop of Zadar, 109
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Lipsius, Justus
De amphiteatri liber, 121, 122
Lomazzo, Giampaolo, 139, 140, 141
Loredano, Giovanni Francesco
Scherzi geniali, 132
Loreto
Basilica of the Holy House, 158
Lothar, Holy Roman Emperor, 16
Luchino, Vincenzo
engraving of St Peter’s, Rome,
210–11, 209, 214 n3, 218 nn51–3
Lucian, 139
Luini, Bernardino
Holy Family with Saints Anne and
the Baptist, 140
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Nevers, Duke de, see Mancini,
Philippe Julien
New St Peter’s, Rome, see St Peter’s,
Rome
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Old St Peter’s, Rome
compared to St Andrews Cathedral,
20–21
one-room apartment, see under Meijer,
Cornelis
Oratorio di S. Bernardino alle Ossa,
Milan, 133
Ottoman empire, 107
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Pacioli, Luca, 109
Padua, 165
capitulation to Venice, 151–2, 163
Eremitani, Church of
——Ovetari Chapel, 160, 161
importance of mills to, 164–7, 167
Santa Giustina, 176
see also Sant’Antonio basilica
Paduan identity, 151
palace of Cardinal Mazarin,
see Palazzo Mancini
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Palatine, Rome, 139
Palazzo Borghese, Rome, 56, 69, 70
Palazzo Canossa, Verona, 175
Palazzo Colonna ai Santi Apostoli,
Rome, 66
Palazzo dei Conservatori, Rome, 208
Palazzo Mancini, Rome, Plate 5
design
——by Contini, Giovan Battista,
Plate 6, 66–7, 68, 71
——by Fontana, Carlo, Plate 7, 66–7,
68
——by Rainaldi, Carlo, 65–6, 68–71
design and construction
——by Cipriani, Sebastiano, Plate 8,
66–8, 67, 68, 71
French influence, 6
involvement of Colonna,
Contestabile Lorenzo Onofrio,
66–7, 69
Palazzo Marescotti Ruspoli,
Vignanello, 67
Palazzo Marucelli-Lepri, Rome, 68
Palazzo Massimo alle Colonne, Rome,
100–102
Palazzo Pamphilj, Rome, 69, 69, 71
Palazzo Pica Alfieri, L’Aquila, 68
Palazzo Rospigliosi, Rome, 67
Palazzo Spada, Rome, 56
Palazzo Thiene, Vicenza, 83–4, 84
Palladio, Andrea, 2, 3, 6, 81, 118
on Corinthian order, 119
on Eastern Adriatic
——antiquities, 116, 117, 118, 120,
122, 125 n48
——stones and quarries, 7, 110
I quattro libri, 82, 83, 84
——Piazza dei Greci, Pula, 116
——Temple of Augustus, Pula, 116,
117, 122
Palazzo Thiene, Vicenza, 83–4, 84
Pantheon, Rome, 118, 119
Papacy
dependence on major art centres, 5,
29–32
and development of the Vatican,
16–17, 29–32
patronage of art, 29–32
see also Popes
Paparo, Cardinal, 20
Parmigianino, 138, 145 n40
Antea, 235
Passerotti, Tiburzio, 32
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Monti, Cesare, Archbishop of Milan,
132, 134, 135
Monticello, Jefferson’s bedroom suite
at, 56
Morazzone, Pier Francesco, 137, 140,
147 n65
‘Banquet of Troy made by three
hands (fatto di tre mani)’, 140,
146 n65
Martyrdom of Saints Rufina and
Seconda (Quadro delle tre mani),
Plate 11, 8, 131–2, 133–5, 136–7,
139, 140, 141
Oratorio di S. Bernardino alle Ossa,
Milan, 133
Quadroni for Carlo Borromeo’s
canonisation, 133
Sacro Monte, Varallo, 133, 145 n42
San Giuseppe, Milan, 133
Santa Maria Presso San Celso, Milan,
133
Tribunale di Provvisione, Milan, 133
Muselli, Cristoforo and Francesco,
182–5, 188
Mussato, Galeazzo, 154
Muziano, Girolamo, 30, 31, 40 n7
Mystic Mill, see Mill of the Host
Index 279
© Ashgate Publishing Ltd
From Nebahat Avcioğlu and Allison Sherman (eds), Artistic Practices and Cultural Transfer in Early
Modern Italy: Essays in Honour of Deborah Howard, published by Ashgate Publishing.
See: http://www.ashgate.com/isbn/9781472443656
© Ashgate Publishing Ltd
280 artistic practices and cultural transfer in early modern italy
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——Temple of Mars Ultor, Rome,
101, 101, 106 nn41–2
——Temple of Peace, Rome, 95, 96,
100, 104 n20
——Temple of Venus Genetrix,
Rome, 104 n17
——Tomb of Cecilia Metella, Rome,
95–8, 97, 100, 101
as a painter
——altarpieces for San Rocco,
Rome, 100
——frescoes for Villa Chigi, Rome,
105 n28
——Presentation of the Virgin, Santa
Maria della Pace, Rome,
105 n31
Philandrier, Guillaume, 119–20, 121
Philip II, King of Spain, 223, 224, 226,
227–8, 229
Philip IV, King of Spain, 227
Piazza dei Greci, Pula, 116
Piazza San Marco, Venice, 110, 111
Piazza San Pietro, see St Peter’s Square
pilgrimage
to Jerusalem, 21
to Rome, 16, 17, 21, 22, 23, 26 n51
to St Andrews, 22–3, 26 n53
to Santiago de Compostela, 21, 22,
23, 26 n51
to Whitekirk, 23
pilgrims
and town planning, 5, 16, 22–3
hostels for, 17, 22
Piranesi, Giovanni Battista, 116
Pizolo, Nicolò
Mill of the Host (inspiration for de
Lazara altarpiece, Padua), 149–50,
150, 153, 154, 160–67, 172 n66
Ovetari Chapel, Church of Eremitani,
Padua, 160, 161, 172 n66
Pliny, 109, 110, 131, 139
Polydectes, 139
Polydorus
Laocoön, 139
Pomponius Mela, 109
Pona, Francesco, 138
Ponzone, Matteo, 109
Ponzone, Sforza, Archbishop of Split,
109
Popes
Alexander III, 26 n51
Alexander VI, 17
Alexander VII, 47, 53, 56
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Pasta, Giovanni
Il Dernando overo il Principe sofferente,
132
Le Fortune di Giuseppe, 132
Historia della Persia, 132
Quadro delle tre mani, 8, 131–2, 133–5,
136, 141, 143–4 n22
La tomba inscrittioni giocose, 132
Patrizi da Cherso, Francesco
La città felice, 109
patronage
contract for de Lazara altarpiece,
149–50, 150, 154, 158–62, 168 n5,
168 nn7–8, 172 n61
imperial, 10, 228–9
papal, 5, 29–32
of Sebastiano del Piombo, by
Cardinal Ippolito de’ Medici, 10,
234, 238, 239 n6, 240 nn10–11
of Tintoretto, by Giovanni Grimani,
5, 29, 32, 34, 35, 41 n29
of Titian
——by Charles V, Emperor, 228–9
——by Philip II, King of Spain, 223,
224, 226, 227–8, 229
Peruzzi, Baldassare, 90, 91, 103 n8
as an architect, 100–102
——Palazzo Massimo alle Colonne,
Rome, 100–102
——St Peter’s, Rome, 100, 105 n30,
203, 205, 206, 207, 207, 208,
216 n26, 216 n29, 217 n37
——San Niccolo, Carpi, 105 n30
——San Rocco, Rome, 100, 105 n29
——Villa Chigi (now Farnesina),
Rome, 100, 102, 105 n28
drawings, 6, 90, 91–9, 100–102,
105 n33, 105–6 n36, 120
——Forum Holitorium Doric
Temple, Rome, 95–8, 97, 100,
102, 106 n43
——Mausoleum of Augustus, San
Rocco, Rome, 98, 100, 104 n17
——Porticus of Octavia, Rome,
95–8, 97
——Roman theatre, Ferento, 92–5,
94, 98, 100, 102, 106 n44
——Sancto Stefano del Cacco,
Rome, 91
——Temple of Apollo, Terracina,
91–2, 92, 93, 100, 104 nn17–18
——Temple of Jupiter Anxur,
Terracina, 98, 99
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Pula, 107, 108, 111–17, 121–2, 125 n48,
126 n54
amphitheatre, 112, 114, 119, 121, 122
Arch of Sergi, 112, 115, 118–19,
120–21, 126 n62
Piazza dei Greci, 116
Temple of Augustus, 116, 117, 122
theatre, 112, 113, 119–20
Pythodorus, 139
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Quadro delle tre mani (painting),
see Martyrdom of Saints Rufina and
Seconda
Quadro delle tre mani (treatise on the
painting), 8, 131–2, 133–5, 141,
143–4 n22
Quadroni for Carlo Borromeo’s
canonisation, 133
quarries of Eastern Adriatic, 7, 109–11
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Boniface VIII, 26 n51
Clement VIII, 45
Calixtus II, 21
Gregory I (the Great), 163
Gregory XIII, 29, 30, 31, 32, 48
Hadrian I, 17
Innocent X, 56
Innocent XI, 46
Innocent XII, 61 n11
John VII, 17
Leo IV, 16
Nicholas V, 17
Paschal I, 17
Paul III, 197, 199
Pius IV, 34, 42 nn37–8
Symmachus, 17
Urban II, 21
Urban VIII, 46
Porticus of Octavia, Rome, 95–8, 97
Posterla, Francesco
Guida di Roma, 65
Procaccini, Camillo, 138, 147 n65
Procaccini, Carlo Antonio, 138
Procaccini, Giulio Cesare, 132, 137,
138, 140, 145 n40, 147 n65
Madonna and Children in a Garland of
Flowers, 139, 146 n63
Martyrdom of Saints Rufina and
Seconda (Quadro delle tre mani),
Plate 11, 8, 131–2, 133–5, 136–7,
139, 140, 141, 142 n7
Oratorio di S. Bernardino alle Ossa,
Milan, 133
Quadroni for Carlo Borromeo’s
canonisation, 133
Sacro Monte, Varallo, 133
San Giuseppe, Milan, 133
Santa Maria Presso San Celso, Milan,
133
Tribunale di Provvisione, Milan, 133
project development
architectural
——St Peter’s, Rome, 9, 197–213
artistic
——de Lazara altarpiece, Padua, 8,
149–50, 151, 153, 158–62
——Sebastiano del Piombo’s
portraits of Giulia Gonzaga,
10, 234–9
——Titian’s ‘Venus with a mirror’,
9–10, 221–9, 232 n33
——Veronese’s iconography, 8–9,
175–91
Index 281
Raimondo, [Bartolomeo] Mercurio, 30,
40 n7
Rainaldi, Carlo
Palazzo Borghese, Rome, 56, 69, 70
Palazzo Mancini, Rome, 6, 65–6,
68–71
Palazzo Pamphilj, Rome, 69, 69, 71
Santa Maria, Aracoeli, 69
Santa Maria, Campitelli, 69
Raphael, 138, 139, 141, 145 n40, 208, 238
Renaissance architects, 6–7, 78–85,
89–102
Renaissance art history
criticism of, 1
cross-cultural approach to, 3–4
Reni, Guido, 138
Rialto Bridge, Venice, 111
Ridolfi, Carlo, 175, 176, 182–5, 192 n9,
223
Rimini
Tempio Malatestiano, 110
Robert, Bishop of St Andrews, 18
Romagna, 110
Roman architecture
Baroque palaces, 55–6, 65
in Eastern Adriatic, 111–23
foreign influence on, 5–6
Peruzzi’s drawings of, 91–9, 100–102
privileging of
——in architectural treatises, 7, 90,
118, 120, 123
——in histories of Renaissance art, 1
see also Palazzo Mancini; St Peter’s
© Ashgate Publishing Ltd
From Nebahat Avcioğlu and Allison Sherman (eds), Artistic Practices and Cultural Transfer in Early
Modern Italy: Essays in Honour of Deborah Howard, published by Ashgate Publishing.
See: http://www.ashgate.com/isbn/9781472443656
© Ashgate Publishing Ltd
282 artistic practices and cultural transfer in early modern italy
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Rubens, Peter Paul
copy of Titian’s Venus with a Mirror,
Plate 16, 10, 221, 223, 227, 228, 229,
230 n3
Madonna and Children in a Garland of
Flowers, 139, 146 n63
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Sacro Monte, Varallo, 133, 145 n42
St Andrew, relics of, 17, 19, 20, 22
St Andrews, Plate 3, Plate 4
cathedral, 19, 20, 22
——compared to Old St Peter’s,
Rome, 20–21
——reference in Theatrum Scotiae,
20–21
comparisons with
——Santiago de Compostela, 21, 22
——Vatican, 15, 22–3
connections with Rome, the Vatican,
20–21
Pictish monastery, 17, 19, 20
St Leonard’s, 22–3
St Rule’s Tower, 19
as a site of pilgrimage, 22–3, 26 n53
town plan, Plate 3, 5, 15, 17–20, 18,
19, 22–3
university, 23
St Anthony’s basilica, see Sant’Antonio
basilica, Padua
St Cadoc, 26 n53
St James the Great, 21
St Peter’s, Rome, 15, 16, 17, 91, 158
Cappella Gregoriana, 29–31, 30, 36–8
designs for / development of / work
on, Plate 13
——by Bramante, 9, 202–5, 204, 206,
215 n9, 216 n23, 216 n26,
217 n33, 217 n44
—— by da Sangallo, Antonio, Plate 14,
9, 105 n30, 197, 201–2, 206,
215 n9, 216 n26, 217 n34,
217 n42, 220 n59
——by da Sangallo, Giuliano,
215 n9, 216 n26
——by Dupérac, Étienne, 9, 197,
198, 200, 199, 201, 201, 202,
206, 208, 211–13, 212, 214 n3,
220 nn62–3
——by Ligorio, Pirro, 210–11
——by Luchino, Vincenzo, 210–11,
209, 214 n3, 218 nn51–3
——by Michelangelo, Plate 14, 9,
197–213, 198, 200, 201, 214 n3,
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Romano, Giulio
Palazzo Thiene, Vicenza, 84
Rome, 4–5
flooding and water management in,
45–6, 47–8
privileging of, in histories of
Renaissance art, 1
as a site of pilgrimage, 21, 22, 23,
26 n51
tensions/rivalry with Venice, 5, 29,
31–2
Rome, sites
Colosseum, 119
Forum Holitorium Doric Temple,
95–8, 97, 100, 102, 106 n43
French Academy of Rome, 65
Lateran Basilica, 21, 51, 63 n24
Mausoleum of Augustus, San Rocco,
98, 100, 104 n17
Maxentius, basilica of, 119
Palatine, 139
Palazzo Borghese, 56, 69, 70
Palazzo Colonna ai Santi Apostoli, 66
Palazzo dei Conservatori, 208
Palazzo Marucelli-Lepri, 68
Palazzo Massimo alle Colonne,
100–102
Palazzo Pamphilj, 69, 69, 71
Palazzo Rospigliosi, 67
Palazzo Spada, 56
Pantheon, 118, 119
Porticus of Octavia, 95–8, 97
San Celso, 203
San Rocco, 98, 100, 104 n17, 105 n29
Sancto Stefano del Cacco, 91
Santa Maria del Popolo, 233
Santa Maria della Pace, 105 n31, 233
Santa Maria di Loreto, 111
Santa Maria Maggiore, 51
Temple of Mars Ultor, 101, 101,
106 nn41–2
Temple of Peace, 95, 96, 100, 104 n20
Temple of Venus Genetrix, 104 n17
Theatre of Marcellus, 120, 125 n33
Tomb of Cecilia Metella, 95–8, 97,
100, 101
Villa Chigi (now Villa Farnesina),
100, 102, 105 n28
see also Old St Peter’s; Palazzo
Mancini; St Peter’s; Vatican
Rossi, Ottavio, 138
Rovinj, 110, 111
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Santa Maria di Carignano, Genoa, 208
Santa Maria di Loreto, Rome, 111
Santa Maria Maggiore, Rome, 51
Santa Maria Presso San Celso, Milan,
133
Santiago de Compostela
cathedral, 21, 22
comparisons with
——St Andrews, 21, 22
——Vatican, 21, 22
as a site of pilgrimage, 21, 22, 23,
26 n51
town plan, 5, 21–2
Sanvito, Bartolomeo, 154
contract for de Lazara altarpiece,
Padua, 149–50, 150, 154, 161–2,
168 n5, 168 nn7–8, 172 n61
Sanvito, Fantino, 153–4
Scamozzi, Vincenzo, 126 n54
on Corinthian order, 119
on Eastern Adriatic materials, 7,
110–11, 122
Idea Universale, 111, 120
Piazza San Marco, 111
on Pula, 116, 119, 120
Scannelli, Francesco, 137, 139
Sebastiano del Piombo, 3, 138, 233–4
Anton Francesco degli Albizzi, 239 n5
‘Artemisia’, 234
Christ, 233
Dorothea, 234
Fornarina, 234
Head of a Woman, 233, 239 n2
Judith, 233, 234
Madonna del Silenzio, 234
Pope Paul II and Ottavio Farnese, 233
Portrait of a Woman, 234
Portrait of a Woman, ‘Snares of
Venus’, 234, 235
portraits of Giulia Gonzaga, 10,
234–9, 236–8, 239 n6, 239 n7,
240–41 nn9–13
St Agatha, 233, 234, 239 n3
Santa Maria del Popolo, Rome, 233
Santa Maria della Pace, Rome, 233
Three Figures (attributed by Pona),
Plate 12, 138
Three Magi, 131
Unknown Woman, 233
Wise Virgin, 233–4, 239 n5
Serlio, Sebastiano, 81, 125 n37, 217 n37
on Corinthian order, 118, 121
on Eastern Adriatic stones and
quarries, 7, 110
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215 n8, 215–16 nn14–15,
217 n42, 219 nn55–6,
219–20 nn58–9
——by Peruzzi, Baldassare, 100,
105 n30, 203, 205, 206, 207, 207,
208, 216 n26, 216 n29, 217 n37
obelisk outside, 82
Old St Peter’s
——compared to St Andrews
Cathedral, 20–21
sack of, 16
St Peter’s Square, 51
San Basilio, L’Aquila, 68
San Celso, Rome, 203
San Domenico, Brač, 32, 33
San Giuseppe, Milan, 133
San Lorenzo, Conselve, 153–4
San Lorenzo, Florence, 106 n45, 206
San Lorenzo, Milan, 199, 203, 215 n10
San Niccolo, Carpi, 105 n30
San Rocco, Rome
Baldassare Peruzzi’s altarpieces, 100
Baldassare Peruzzi’s architectural
work, 100, 105 n29
Mausoleum of Augustus, 98, 100,
104 n17
San Salvador, Venice, 230 n4
San Sebastiano, Venice, 223, 226
Sancto Stefano del Cacco, Rome, 91
Sansovino, Francesco
Venetia, città nobilissima e singolare, 110
Sansovino, Jacopo, xix, xxi, 2
Piazza San Marco, 110
Sant’Antonio basilica, Padua, 8,
149–50, 155, 156, 157, 159
de Lazara altarpiece, 8, 153, 154,
158–60, 162–7
——contract for, 149–50, 150, 154,
158–62, 168 n5, 168 nn7–8,
172 n61
de Lazara family’s relationship to,
151–3, 154–8, 169 n23
St Anthony’s tomb, 151, 154, 156,
156, 157, 158, 171 n54
Santa Giustina, Padua, 176
Santa Maria, Aracoeli, 69
Santa Maria, Campitelli, 69
Santa Maria del Popolo, Rome, 233
Santa Maria della Consolazione, Todi,
205, 217 n44
Santa Maria della Pace, Rome
Presentation of the Virgin, 105 n31
Sebastiano del Piombo’s murals, 233
Index 283
© Ashgate Publishing Ltd
From Nebahat Avcioğlu and Allison Sherman (eds), Artistic Practices and Cultural Transfer in Early
Modern Italy: Essays in Honour of Deborah Howard, published by Ashgate Publishing.
See: http://www.ashgate.com/isbn/9781472443656
© Ashgate Publishing Ltd
284 artistic practices and cultural transfer in early modern italy
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Tedesco, Giovanni, 153
Tempio Malatestiano, Rimini, 110
Temple of Apollo, Terracina, 91–2, 92,
93, 100, 104 nn17–18
Temple of Augustus, Pula, 116, 117,
122
Temple of Jupiter Anxur, Terracina,
98, 99
Temple of Mars Ultor, Rome, 101, 101,
106 nn41–2
Temple of Peace, Rome, 95, 96, 100,
104 n20
Temple of Venus Genetrix, Rome,
104 n17
Terracina
Temple of Apollo, 91–2, 92, 93, 100
Temple of Jupiter Anxur, 98, 99
theatre, Pula, 112, 113, 119–20, 121
Theatre of Marcellus, Rome, 120,
125 n33
Tintoretto, Jacopo (Jacopo Comin), 3,
29, 34, 39, 138, 145 n40
Bol Altarpiece (San Domenico, Brač),
32, 33
as an outcast, 34, 42 n41
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patronised by Giovanni Grimani, 5,
29, 32, 34, 35, 41 n29
portrait of a cardinal, 35
Presentation of the Virgin in the Temple
(Madonna dell’Orto, Venice), 32
Titi, Filippo, 65
Titian (Tiziano Vecellio), 3, 138, 139,
145 n40, 232 n33, 238
Annunciation, San Salvador, Venice,
230 n4
Danaë, 229
Death of St. Peter Martyr, 158
Diana and Actaeon, 226
Girl Holding a Basket of Fruit, 223, 226
Gloria, 190, 193 n23
Judith, 229
Man of Sorrows (‘Christ’), 228–9
Martyrdom of St Lawrence, 223, 228
Mary Magdalen, 223, 226
portrait of Giulia Gonzaga, 241 n13
St Margaret, 228, 232 n32
St Mary Magdalen, 226
St Nicholas of Bari, San Sebastiano,
Venice, 223, 226
Three Figures (attributed by Pona),
Plate 12, 138
Venus and Cupid with a Partridge, 226,
232 n38
Venus with a Mirror, 9–10, 221–9,
230 n4, 232 n33
——copy by Rubens, Plate 16, 10,
221, 223, 227, 228, 229, 230 n3
——copy by Van Dyck, 10, 221, 222,
223, 226, 228
——version in National Gallery of
Art, Washington, DC, Plate 15,
10, 221, 223–8, 225, 231 n20,
231 n23, 232 n31
——version of imperial provenance,
10, 228–9
Venus with an Organist and a Cupid,
224
Venus with an Organist and a Dog, 224
Venus with Cupid and a Lutenist, 226
Tivoli
temple by Teverone, 119
Todi
Santa Maria della Consolazione, 205,
217 n44
Tolomei, Claudio, Bishop of Korčula,
109
Tomb of Cecilia Metella, Rome, 95–8,
97, 100, 101
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on Pula antiquities, 112–16, 120, 121,
122, 126 n62
——amphitheatre, 112, 114, 121, 122
——Arch of Sergi, 112, 115, 118, 120,
121, 126 n62
——theatre, 112, 113, 119, 120, 121
on Theatre of Marcellus, Rome, 120,
125 n33
Šibenik cathedral, 118
Spada, Virgilio, 56
Specchi, Alessandro, 65
Split
palace of Diocletian, 118
Spon, Jacob, 118
Squarcione, Franceso
involvement in de Lazara altarpiece,
Padua, 149–50, 153, 154, 161–2
relations with de Lazara family, 152,
154
St Jerome Polyptych, 152, 153, 154, 158
Squarcione, Giovanni, 152
stone
in architectural treatises and
drawings, 91–9, 100–102, 109–11
of Eastern Adriatic, 7, 109–11
Susa
Arch of Augustus, 119, 126 n62
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Van Dyck, Anthony, 192 n9
copy of Titian’s Venus with a Mirror,
10, 221, 222, 223, 226, 228, 231 n21
van Wittel, Gaspar, 46, 47
Varallo
Sacro Monte, 133, 145 n42
Vasari, 138, 141
and artistic innovation, 7
on Corinthian order, 119, 121
on Eastern Adriatic stones and
quarries, 7, 110
Lives of the Artists, 1, 110, 119, 141
on St Peter’s Rome, 197, 201, 206,
213, 214 n3, 220 n63
Sala dei Cento Giorni, 131
Vatican
comparisons with
——St Andrews, 15, 22–3
——Santiago de Compostela, 21, 22
dependence on major art centres, 5
——Venice, 29–32
as a site of pilgrimage, 16, 21, 22, 23
town plan, 5, 15, 16–17, 16, 22, 23 n3,
24 n11, 24 n18
see also Castel Sant’Angelo;
Mausoleum of Hadrian; St Peter’s;
St Peter’s Square; Vatican Borgo;
Vatican Palace
Vatican Borgo, 5, 15–17, 16, 20, 21–2,
23 n3
Vatican Palace, 15, 17
Belvedere, 29, 32
Cappella Paolina, 29, 32
Galleria delle Carte Geografiche, 29, 32
Vecellio, Tiziano, see Titian
Venetian Arsenal, Venice, 112
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urban planning, see town planning
Urbino, 138
Venice
Basilica di San Marco, 30–31, 36, 37,
41 n29
cultural transfer in, 3–4
de Lazara family allied to, 151–2,
153, 163
Madonna dell’Orto, 32
Padua’s capitulation to, 151–2, 163
Piazza San Marco, 110, 111
Rialto Bridge, 111
rule over Eastern Adriatic, 7, 107,
110, 121–3
San Salvador, 230 n4
San Sebastiano, 223, 226
tensions/rivalry with Rome, 5, 29, 31–2
use of Eastern Adriatic stone, 110–11
Vatican’s dependence on its artistic
capital, 5, 29–32
Venetian Arsenal, 112
‘Venus with a mirror’ series (Titian),
9–10, 221–9, 230 n4, 232 n33
copy by Rubens, Plate 16, 10, 221,
223, 227, 228, 229, 230 n3
copy by Van Dyck, 10, 221, 222, 223,
226, 228
version in National Gallery of Art,
Washington, DC, Plate 15, 10, 221,
223–8, 225, 231 n20, 231 n23, 232 n31
version of imperial provenance, 10,
228–9
Verona
Palazzo Canossa, 175
Veronese, Paolo (Paolo Caliari), 3, 138,
145 n40, 221, 230 n4
drawings, 8–9, 175–91
——Allegory of Redemption, 188–90,
189
——Holy Family Served by Angels
(‘Pittura Sesta’), 185–7, 187,
188, 193 nn17–18, 193 n20
——Martyrdom of Saint Justina, 176,
178
——Rest on the Flight to Egypt, 182,
183, 184, 187, 192 n9
——studies of The Virgin and Child
and the Rest on the Flight to
Egypt, 181–2, 181
——Temptation of Saint Anthony, 176,
177
——Triumph of Temperance over Vice,
176, 179, 191 n6
——Virgin and Child (‘Pittura
Quinta’), 185, 188, 192 n16
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Torre, Carlo, 137
Toso, Scipione, 132, 133, 135, 136, 137,
140
town planning
in Eastern Adriatic, 109
and movement of pilgrims, 5, 16, 22–3
Trevisi, Antonio, 45
Tribunale di Provvisione, Milan, 133
Triumphal Arch
canonisation of, 7
Trogir, 110
chapel of Blessed John Orsini, 118
Tuscan order, 119, 122
Index 285
© Ashgate Publishing Ltd
From Nebahat Avcioğlu and Allison Sherman (eds), Artistic Practices and Cultural Transfer in Early
Modern Italy: Essays in Honour of Deborah Howard, published by Ashgate Publishing.
See: http://www.ashgate.com/isbn/9781472443656
© Ashgate Publishing Ltd
286 artistic practices and cultural transfer in early modern italy
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Vittorio Emanuelle II, 158
Vivarini, Alvise
Assumption of the Virgin, 158
Vivarini, Antonio, 161
von Schlosser, Julius, 132
Vrsar, 111
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Wheler, George, 118
Whitekirk, 23
William, Bishop of Moray, 20
Wotton, Sir Henry, 84
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Zadar, 109
Arch of Melia Anania, 112
Zoppo, Marco, 162
Zuccaro, Federico, 138, 140–41
Zuccaro, Taddeo, 138
Zuccato, Arminio, 31
Zuccato, Francesco, 31
Zumthor, Peter, Plate 9, 77–8
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——Virgin and Child and Angels
(‘Pittura Quarta’), 182–5, 186,
188, 192 n12
——Virtue Fleeing Vice, 176, 180
Mantua Cathedral altarpiece, 176
Palazzo Canossa, Verona, 175
Santa Giustina, Padua, 176
Vicenza
Palazzo Thiene, 83–4, 84
Vignanello
Palazzo Marescotti Ruspoli, 67
Villa Chigi (now Villa Farnesina),
Rome, 100, 102, 105 n28
Vitruvius, 78, 81, 90, 91, 98, 101,
104 n24, 109, 112, 116, 121
on Corinthian order, 118
I dieci libri dell’architettura, 79, 109
Latin theatre, 119–20
on stones and quarries, 91, 101,
104 n19, 109
Vitruvius, Giovanni Giocondo, 122–3
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