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Visualizing the Past in Italian Renaissance Art

Jennifer Cochran Anderson and Douglas N. Dow - 9789004447776 Downloaded from Brill.com10/02/2021 12:29:54AM via free access Brill’s Studies on Art, Art History, and Intellectual History

General Editor

Walter S. Melion (Emory University)

volume 53

The titles published in this series are listed at brill.com/bsai

Jennifer Cochran Anderson and Douglas N. Dow - 9789004447776 Downloaded from Brill.com10/02/2021 12:29:54AM via free access Jennifer Cochran Anderson and Douglas N. Dow - 9789004447776 Downloaded from Brill.com10/02/2021 12:29:54AM via free access Brian A. Curran, Professor of Art History, Pennsylvania State University photo: STEPHANIE SWINDLE, 2015

Jennifer Cochran Anderson and Douglas N. Dow - 9789004447776 Downloaded from Brill.com10/02/2021 12:29:54AM via free access Visualizing the Past in Italian Renaissance Art

Essays in Honor of Brian A. Curran

Edited by

Jennifer Cochran Anderson Douglas N. Dow

LEIDEN | BOSTON

Jennifer Cochran Anderson and Douglas N. Dow - 9789004447776 Downloaded from Brill.com10/02/2021 12:29:54AM via free access Cover illustrations: Guglia of the Immaculate Conception, 1747–1757, Piazza del Gesù Nuovo, Naples. PHOTO: Robin L. Thomas. Girolamo Muziano, View of the Villa d’Este, c. 1568, fresco, Salone, Villa d’Este,Tivoli. PHOTO: Katherine M. Bentz. Giorgio Grognet de Vassé, Spiral dome, Mosta, 1832–1857. PHOTO: Ingrid Rowland. Pietro and Gian Lorenzo Bernini, A Faun in Love, Detail of the Faun’s Face, ca. 1616–1617, Carrara marble, New York, The Metropolitan Museum of Art. PHOTO: Marilyn Aronberg Lavin. Consecratio/Apotheosis, detail of elephants from a leaf of an ivory diptych, ca. 402, British Museum, London. PHOTO: Anthony Cutler.

Library of Congress Cataloging-in-Publication Data

Names: Curran, Brian A. (Brian Anthony), 1953– honouree. | Cochran Anderson, Jennifer, editor. | Dow, Douglas N., editor. Title: Visualizing the past in Italian Renaissance art : essays in honor of Brian A. Curran / edited by Jennifer Cochran Anderson, Douglas N. Dow. Description: Leiden ; Boston : Brill, [2021] | Series: Brill’s studies on art, art history, and intellectual history, 1878–9048 ; volume 53 | Includes bibliographical references and index. Identifiers: LCCN 2020054322 | ISBN 9789004391529 (hardback) | ISBN 9789004447776 (ebook) Subjects: LCSH: Art and history—Italy. | Art, Renaissance—Italy—Themes, motives. | Art, Italian—Themes, motives. | Art—Historiography. Classification: LCC N72.H58 V57 2021 | DDC 709.45—dc23 LC record available at https://lccn.loc.gov/2020054322

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ISSN 1878-9048 ISBN 978-90-04-39152-9 (hardback) ISBN 978-90-04-44777-6 (e-book)

Copyright 2021 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi, Brill Sense, Hotei Publishing, mentis Verlag, Verlag Ferdinand Schöningh and Wilhelm Fink Verlag. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Requests for re-use and/or translations must be addressed to Koninklijke Brill NV via brill.com or copyright.com.

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Jennifer Cochran Anderson and Douglas N. Dow - 9789004447776 Downloaded from Brill.com10/02/2021 12:29:54AM via free access Contents

Preface and Acknowledgements vii List of Illustrations x Notes on Contributors xv

Introduction: Brian Curran, Past, Present, Place 1 Douglas N. Dow and Jennifer Cochran Anderson

Publications by Brian A. Curran 6

1 Horrors and Heroes, Renaissance and Recent: Rome as Architecture School 9 Denise R. Costanzo

2 Michelangelo’s Columns 40 William E. Wallace

3 Allegory, Antiquities, and a Gothic Apollo: Queen Christina of Sweden and the Manufacture of Cultural Identity 53 Theresa A. Kutasz Christensen

4 The Atlantic Visions of Giorgio Grognet de Vassé (1774–1862), Maltese Forger, Architect, and Antiquarian 80 Ingrid Rowland

5 Drawing the Elephant: On the Natures of Naturalism before and in the Cinquecento 108 Anthony Cutler

6 A Faun in Love: The Visual Sources 134 Marilyn Aronberg Lavin

7 Marco del Buono Giamberti’s 1478 Testament and New Evidence about Paolo Uccello 144 Louis Alexander Waldman

8 The Architecture of Civic Virtue in Donatello’s Saint George and the Dragon 158 Elizabeth Petersen Cyron

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9 American Bodies, Aztec Feathers, and Artistic Invention in Sixteenth-Century Europe 184 Stuart Lingo

10 Cafà’s Saint Rose of Lima as Effigy 213 Jessica M. Boehman

11 Gardens, Air, and the Healing Power of Green in Early Modern Rome 235 Katherine M. Bentz

12 The Guglie of Naples and the Visual Rhetoric of Height 268 Robin L. Thomas

13 Nicola Michetti’s Facade of the Palazzo Colonna in Rome (1731–1735) 293 John Pinto

Tabula in Memoriam 313

Index 327

Jennifer Cochran Anderson and Douglas N. Dow - 9789004447776 Downloaded from Brill.com10/02/2021 12:29:54AM via free access Preface and Acknowledgements

On a cold Pennsylvania day in January of 2016 I stopped to visit my former professor, Brian Curran, and his wife, Mary, at their home. Brian, at that time, had been suffering with amyotrophic lateral sclerosis (ALS) for a few years, but on that afternoon I was particularly struck by the fact that despite the enor- mous difficulty that it posed for him physically, Brian continued to teach, mentor, and dynamically contribute to every area of life that interested him. We talked about his plans for the spring semester, the presidential race, editing woes, his students, my young son, the chapter of the American Association of University Professors that Brian founded at Penn State, his love of La Befana and the Italian celebration of the Epiphany, and how much he missed Rome. Brian’s curiosity, intellect, and his desire to help others were relentless, even as his body failed him. I continued to think about that day and that conversation with Brian after I flew back home to Los Angeles and a few weeks later sent an email to Craig Zabel, then head of the Penn State Department of Art History, about an idea that I had for a symposium honoring Brian in which his former doctoral students would be invited to give papers illustrating Brian’s influence on their current research. Prof. Zabel was incredibly supportive, the conference was organized quickly, and a date was set for late September. It is a testament to Brian that so many of his former students, now successful art historians in their own right, enthusiastically agreed to travel from across the country to present papers in celebration of their mentor. To date, the symposium held in honor of Brian Curran on September 24, 2016 remains the highest attended event ever hosted by the Penn State Art History Department. From that event came the idea for the present volume. With the support of Brian’s former students, as well as his friends and colleagues—particularly Tony Cutler, Craig Zabel, Robin Thomas, and Nancy Locke, all of whom gave valuable insights and advice at this book’s inception—Douglas Dow and I began to solicit contributions for a festschrift that at its heart would be a volume about the continuity of the past within the present. This theme, ever at hand in Brian’s scholarship, remained foremost on our minds as we thought about the impact of his life and work on our own and on that of the contributors to this volume. Our collective past—as students, colleagues, and friends of Brian Curran—remains a vital part of our current work and lives. We have tried to keep what Brian would have done and what he would have wanted for this book as our guidance but acknowledge that he would have

Jennifer Cochran Anderson and Douglas N. Dow - 9789004447776 Downloaded from Brill.com10/02/2021 12:29:54AM via free access viii Preface and Acknowledgements continued to surprise us had he lived to see its completion. This was already the case when we first told him about the project in the spring of 2017. In our minds, the contributors’ list and scope of the book was already set. Brian, weeks away from the end of his life but as active in thought as he ever was, immediately proposed more than a dozen additional colleagues and friends who should be asked to contribute while simultaneously saying that we would eventually have to narrow the length and thematic scope of the project from the much more prodigious undertaking that we envisioned at that time. He was right. We were surprised, although for anyone that has ever been taught or edited by Brian, his ability to look at a project and make it better ought to have been the most predictable thing in the world. I would like to thank my friend and co-editor, Douglas N. Dow, to whom I am extremely indebted. Douglas can take any piece of writing (including this one) and improve it. I am thankful every day that he volunteered to be part of this project. I would also like to thank my husband, Tim Anderson, for his unflag- ging support and my son, Erik Thomas Anderson, who has been living with his mother’s submersion in this endeavor for as long as he can remember. Douglas would like to thank his friend and co-editor Jennifer Cochran Anderson. As she has already eloquently described, this incredible tribute grew from her initial idea to do something kind in recognition of all the things Brian did for so many of us. As the contributors to the volume already know, Jen took on the difficult task of organizing and contacting all of the authors, becoming the face of this operation as well as its most capable administrator. I am grateful to her for all of the hard work she invested in this project. Together we would like to express our gratitude to Walter Melion, editor for Brill’s Studies on Art, Art History, and Intellectual History, and to Ivo Romein of Brill Academic Publishers, who shepherded this project to completion with kindness and good advice. We would like to thank Elizabeth Mansfield and the Pennsylvania State University Department of Art History; Barbara O. Koerner, former dean of the Penn State College of Arts and Architecture; as well as Joyce Hoffman, director of Alumni Relations and Communications for the Penn State College of Arts and Architecture, for their encouragement to see this volume to fruition. We thank the Pennsylvania State University Department of Art History’s George Dewey and Mary J. Krumrine Endowment, the Pennsylvania State University College of Arts and Architecture Alumni Society, and the Italian Art Society for their generous financial support and the many friends, mentors, colleagues, and students of Brian Curran who contributed to and encouraged this volume in myriad ways. Most importantly, we thank Mary Curran, who was never far from Brian’s mind, and who has served as our

Jennifer Cochran Anderson and Douglas N. Dow - 9789004447776 Downloaded from Brill.com10/02/2021 12:29:54AM via free access Preface and Acknowledgements ix touchstone to Brian throughout this undertaking. Lastly, thank you Brian. We hope that we did right by you. Any mistakes or oversights in the composition of this volume are our own.

1 August 2020

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1.1 Le Corbusier, “La Rome des horreurs,” Vers une architecture (Paris: G. Crès, 1923/4 1928), 139 10 1.2 Le Corbusier, “Les absides de Saint-Pierre,” Vers une architecture (Paris: G. Crès, 1923/4 1928), 133 11 1.3 Andrea Palladio, Ichnographia, orthographia & schiographia aedis peripterae (Plan, elevation, and rendering of peripteral temple), M. Vitrvvii Pollionis De architectvra libri decem, ed. Daniele Barbaro (Venice, 1567), bk. 4, ch. 7, p. 153 27 1.4 Andrea Palladio, Reconstruction of temple (“of Jupiter”) on the Quirinal Hill, I qvattro libri dell’architettvra (Venice, 1616), bk. 4, ch. 12, p. 44 29 1.5 Leon Battista Alberti, Palazzo Rucellai, Florence, begun 1446 34 1.6 Andrea Palladio, Villa Capra, Vicenza, begun 1567 35 2.1 Model of the San Lorenzo Facade, 1517 43 2.2 Michelangelo Buonarroti, Tomb of Lorenzo de’ Medici, 1521– 44 2.3 Michelangelo Buonarroti, Laurentian Library Vestibule, 1524– 45 2.4 Michelangelo Buonarroti completed by Giacomo della Porta, Buttresses of St. Peter’s, 1554– 1564 48 2.5 Michelangelo Buonarroti completed by Giacomo della Porta, Dome of St. Peter’s, completed 1590 49 2.6 Michelangelo Buonarroti completed by Giacomo della Porta, Lantern of the dome of St. Peter’s, 1590–1593 50 3.1 Giulio Cartari, Bust of Christina of Sweden, ca. 1680 56 3.2 Attributed to Nicolas Vallari, Drottning Kristinas festtåg (Queen Christina’s Party Train), mechanical float in the shape of Mt. Parnassus with the nine muses and Fame, part of a four-meter-long panorama of Christina’s coronation parade, 1650 64 3.3 Attributed to Erich Praise, Coronation Portrait Medal of Queen Christina of Sweden with Christina as Minerva on the Obverse and an Anthropomorphic Sun on the Reverse, 1650 65 3.4 Camillo Arucci, “Sala delle Muse,” at the Palazzo Riario, 17th century 68 3.5 Cleopatra, now identified as Sleeping Ariadne, 150–175 CE 70 3.6 Carlo Fontana, Queen Christina’s Cenotaph in St. Peter’s, 1700–1720 74 4.1 Antoine de Favray, Portrait of Maria Amalia Marchesi Grognet, ca. 1771 86 4.2 Antoine de Favray, Portrait of Giovanni Battista Grognet de Vassé, ca. 1771 87 4.3 Portrait of Giorgio Grognet de Vassé, Basilica of Our Lady of the Assumption, Mosta, Malta 88

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4.4 Giorgio Grognet de Vassé, Church of Our Lady of the Assumption, 1833–1860 96 4.5 Giorgio Grognet de Vassé, Spiral motifs on Neolithic temples in Malta, ca. 1854 99 4.6 Giorgio Grognet de Vassé, Kabiric spirals on the Temple of Apollo, Bassae, Greece 100 4.7 Giorgio Grognet de Vassé, A bishop’s crook derived from an Etruscan lituus 101 4.8 Relief sculpture from the island of Samothrace showing Agamemnon, Talthybius, and Epeius, ca. 560 102 4.9 Kabiric spirals on the church at Mosta 102 4.10 Kabiric spirals in the church at Mosta 103 4.11 Spiral dome, Mosta 103 5.1 Asian elephant from floor mosaic of the Great Palace, possibly early 6th century 111 5.2 African elephant from floor mosaic of the Great Palace, possibly early 6th century 112 5.3 Fragment of a sarcophagus lid, 3rd century CE 113 5.4 An elephant disembarking, detail of a floor mosaic, early 4th century CE 114 5.5 Consecratio/Apotheosis, leaf of an ivory diptych, ca. 402 115 5.6 Elephant mosaic, late-4th to early-5th century 117 5.7 The King of Kings hunting with elephants, early 7th century 119 5.8 “Shroud of Saint Josse,” before 961 120 5.9 An elephant uprooting trees in Pseudo-Oppian, Kynegetika, mid-11th century 121 5.10 “Great Lady” in a scientific MS., early 15th century 122 5.11 Matthew Paris, Chronica maiora II, Elephant given to Henry III, before 1259 124 5.12 “Catalan Atlas,” detail of Nubian elephant (5.12a on left), and detail of Elephant near Delhi (5.12b on right), ca. 1375 125 5.13 Andrea Mantegna, The Triumph of Caesar, ca. 1492 126 5.14 Attributed to Raphael or Giulio Romano, The elephant Hanno, 1514–1517 128 5.15 Leonardo da Vinci, Battle with Horses and Elephants, 1515–1518 129 6.1 Pietro and Gian Lorenzo Bernini, A Faun in Love, view of the right side, ca. 1616–1617 135 6.2 Detail of Fig. 6.1, the Faun’s Face 136 6.3 Symplegma, Hermaphroditus Struggling with Satyr, Roman copy of 2nd century BCE composition 137

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6.4 Satyr Pulling a Thorn from Pan’s Foot, Roman copy of a late 2nd or early 1st century BCE composition 138 6.5 Michelangelo Buonarroti, Detail of Spandrel over the Rehoboam-Abijah Ancestor Lunette, 1508–1512 139 6.6 Jacques Joseph Coiny, “Hercules and Deianira”, after Les amours des dieux: ‘L’Arétin’ d’Augustin Carrache ou Recueil de postures érotiques, 1798 139 6.7 Detail of Fig. 6.1, Faun’s Genitalia 140 6.8 Detail of Fig. 6.1, Two Infant Spirits 141 7.1 First page of the testament of Marco Giamberti, called Marco del Buono, June 25, 1478 (detail with penultimate line reading: “al presente in bottegha di detto Marco dipinti di mano di Pagolo Uccello”) 148 7.2 Paolo di Dono, called Paolo Uccello, The Hunt in the Forest, ca. 1465–1470 149 7.3 Paolo di Dono, called Paolo Uccello, Battle on the Banks of a River, Probably the Battle of the Metaurus, ca. 1468 149 8.1 Donatello, Saint George, ca. 1415, replica 159 8.2 Donatello, Saint George and the Dragon, ca. 1417 160 8.3 Unknown, Saint George and the Dragon, 15th century 165 8.4 Donatello, Saint George and the Dragon, detail of arcade, ca. 1417 166 8.5 Donatello, Saint George and the Dragon, detail of capitals, ca. 1417 167 8.6 Leon Battista Alberti, Loggia Rucellai, ca. 1460 170 8.7 Filippo Brunelleschi, Ospedale degli Innocenti, 1419–1427 173 8.8 Orsanmichele, detail of loggia infill, 13th–15th centuries 175 9.1 Jean de Léry, Tupinamba Warriors, from Histoire d’un voyage faict en la terre de Brésil, 1578 186 9.2 Daniel Hopfer, Landsknechts, ca. 1530 187 9.3 John White, A Chieftain, ca. 1585 188 9.4 Jan van der Straet, called Giovanni Stradano or Stradanus, Vespucci Landing in America, ca. 1587–1598 191 9.5 Theodor Galle after Giovanni Stradano, The Discovery of America, from the Nova Reperta, ca. 1600 192 9.6 Giovanni Stradano, Vespucci, from the Americae Retectio series, late 1580s 194 9.7 Jacopo Pontormo, male nude (Vertumnus?), detail of Vertumnus and Pomona, ca. 1520–1521 196 9.8 Agnolo Bronzino, Pygmalion and the Statue, ca. 1529–1530 197 9.9 Dosso Dossi, Jupiter Painting Butterflies, ca. 1523–1524 199 9.10 Dosso Dossi, detail of Mercury, Jupiter Painting Butterflies 201 9.11 Cantino World Map, 1502 206 9.12 Cantino World Map, detail of South American coast with parrots, 1502 207

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10.1 Melchiorre Cafà, St. Rose of Lima, 1665 214 10.2 Giovanni Battista Falda and Giovanni Giacomo de’ Rossi, Altra veduta della Piazza di S. Maria della Minerva, 1669 216 10.3 Cosimo Fancelli, St. Catherine of Siena, 1656 223 10.4 Giovanni de’ Vecchi, Miraculous Communion of St. Catherine of Siena, 1579 225 10.5 Cappella di San Domenico, Santa Maria sopra Minerva, Rome 226 10.6 Original location of Cafà’s Rose of Lima, Convento de Santo Domingo, Lima 231 11.1 Giacomo Lauro, A View of Frascati with its Villas and Palaces, as well as Modern Churches and Ancient Ruins, in Antiquae Urbis Splendor (Rome, 1612 [1630]) 238 11.2 Castore Durante, Il tesoro della sanità (Venice, 1586) 243 11.3 Vincenzo Scamozzi, The Description of the Sixteen Winds, L’idea della architettura universale (Venice, 1615), vol. 1, bk. 2, p. 143 247 11.4 Girolamo Muziano, View of the Villa d’Este, ca. 1568 251 11.5 Matthaüs Greuter, The Papal Palace on Monte Cavallo, Rome, 1623 254 11.6 Jacopo Barozzi da Vignola and Tommaso Ghinucci, First Terrace, Villa Lante (Villa Gambara), early 1570s 258 11.7 Giacomo della Porta and Carlo Maderno, Villa Aldobrandini, begun 1598 260 12.1 Guglia of San Gennaro, 1637–1661 273 12.2 Domenico Gargiulo, Eruption of Vesuvius in 1631, ca. 1656–1660 277 12.3 Guglia of San Gennaro, from Domenico Antonio Parrino, Nuova guida de’ forastieri, 1725 278 12.4 Guglia of San Domenico, 1657–1739 279 12.5 Guglia of San Domenico, from Domenico Antonio Parrino, Nuova guida de’ forastieri, 1725 281 12.6 Domenico Antonio Vaccaro, Design for the guglia of San Domenico, ca. 1737 282 12.7 Ferdinando Sanfelice and Carlo Baldi, Disegno in prospettiva della gran Macchina Fatta Avanti il Real Palazzo (…), 1740 285 12.8 Guglia of the Immaculate Conception, 1747–1757 288 13.1 Maggi-Maupin-Losi, Plan of Rome, detail with Palazzo Colonna indicated in red, 1625 294 13.2 Giovanni Battista Falda, Plan of Rome, detail with Palazzo Colonna indicated in red, 1676 296 13.3 Giuseppe Vasi, View of the Palazzo Colonna facade, 1754 298 13.4 Giovanni Battista Nolli, Plan of Rome, detail with Palazzo Colonna indicated in red, 1748 300

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13.5 Palazzo Colonna, northern portal framed by the Vicolo del Piombo 300 13.6 Palazzo Colonna, facade, with southern pavilion in foreground 301 13.7 Giovanni Battista Piranesi, Veduta of the Palazzo Odescalchi, with the facade of the Palazzo Colonna on the right, ca. 1753 301 13.8 Nicola Michetti, Festival of the Chinea, Second Macchina, 1733 309

Jennifer Cochran Anderson and Douglas N. Dow - 9789004447776 Downloaded from Brill.com10/02/2021 12:29:54AM via free access Notes on Contributors

Katherine M. Bentz is Associate Professor of Art History at Saint Anselm College. Her research focuses on urbanism, landscape and garden history, and antiquities collections in early modern Rome. She has received fellowships from the NEH, Dumbarton Oaks, the Getty Research Institute, the Mellon Foundation, and Villa I Tatti. Her article, “The Afterlife of the Cesi Garden: Family Identity, Politics, and Memory in Early Modern Rome” (JSAH, 2013) received the 2016 Essay Prize from the Landscape History Chapter of the SAH. Her essay in this volume draws from her book project, which examines villas built by prelates in the sixteenth century.

Jessica Boehman is Associate Professor of Fine Arts and Art History at CUNY’s LaGuardia Community College in New York City. She earned her degrees in Art History—a master’s from Penn State University and a PhD from the University of Pennsylvania—both with a focus on Italian Baroque sculpture. She was a Fulbright Scholar to Italy in 2006–2007. Currently, Jessica teaches both Art History and Illustration, and is also active as a children’s book illustrator. As an historian and artist-practitioner, Jessica focuses her art historical research on the art produced in sculptor’s studios in the Roman circle of Bernini.

Theresa Kutasz Christensen is a curator and art historian whose work focuses on the re-use of the past in art and architecture and the lives of objects. She has particular interest in the history of collecting and display in the early modern period and specializes in antiquarianism, the art market in Rome, and women as collectors. Theresa is the recipient of a Fulbright grant to Sweden and has held teaching, research, and curatorial positions at the Pennsylvania State University, the Smithsonian Freer and Sackler Galleries, the Smithsonian American Art Museum, the Smithsonian Archives of American Art, the Palmer Museum of Art, and the Detroit Institute of Arts. She is originally from Portland, Oregon and holds a BA from the University of Puget Sound as well as an MA and a PhD in Italian Renaissance and Baroque art history from the Pennsylvania State University.

Jennifer Cochran Anderson is an independent art historian working in Austin, Texas. Her current research focuses on the historical “afterlives” of Ireland’s wooden devotional sculptures

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Denise Costanzo is Assistant Professor of Architecture at the Pennsylvania State University, where she teaches theory and history. Her current book projects, Modern Architects and the Problem of the Postwar Rome Prize: France, Spain, America and Britain (University of Virginia Press), and the co-edited (with Andrew Leach) Italian Imprints: Issues and Influences in the Architectural Culture of the Long Twentieth Century, extend her work on the legacy of Italy in twentieth- century architectural culture. Her essays appear in numerous peer-reviewed journals and edited volumes, and she is the author of What Architecture Means: Connecting Ideas and Design (Routledge: 2015).

Elizabeth Petersen Cyron graduated from Penn State University in 2019, after completing a disserta- tion entitled Architecture and Audience in Donatello’s Early Florentine Reliefs. Although Brian passed away before she completed her degree, his guidance and vested interest in her project helped Elizabeth progress. She is continuing her research on Donatello’s use of fictive architecture as a means for narrative and is exploring the sculptor’s reliefs on the high altar in Sant’Antonio, Padua. Elizabeth is currently teaching courses at Gettysburg College and Kutztown University, and hopes to inspire a new generation of students the way Brian did at Penn State.

Anthony Cutler is the Evan Pugh Professor of Art History emeritus at Penn State. He was a member of the Institute for Advanced Study and a resident in art history at the American Academy in Rome. He held four fellowships at Dumbarton Oaks, and was Paul Mellon Fellow at the Center for Advanced Study in the Visual Arts. He received the Humboldt Research Prize in 2001–2002. Cutler was a Fellow of the John Simon Guggenheim Foundation for 2002–2003 and elected a Fellow of the Medieval Academy in 2005. In 2011–2012 he was Slade Professor of Fine Art at Oxford.

Douglas N. Dow is Associate Professor of Art History at Kansas State University, where he teaches courses on Renaissance and Baroque art. His publications focus on late sixteenth-century Florentine art, and include Apostolic Iconography and

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Florentine Confraternities in the Age of Reform (2014) as well as essays in edited volumes and articles in peer-reviewed journals. He is currently preparing a book that examines how the history of style, religious reform, and the patron- age of art in late Cinquecento Florence intersect in the sacred paintings of Bernardino Poccetti.

Marilyn Aronberg Lavin has taught art history at Washington University, Yale, Princeton, and the Università di Roma, La Sapienza. Her work is in Italian art, with emphasis on Piero della Francesca. Perhaps her best-known books are on Piero’s Flagellation, and his Baptism. Her 3-D walk-through model of his Arezzo chapel is available online. She has also published on medieval Roman mosaics, and on the sub- ject of the Song of Songs. For her Seventeenth-Century Barberini Documents and Inventories of Art, she received the C. R. Morey award for distinguished scholarship, and her book The Place of Narrative: Mural Decoration in Italian Churches, was “First Place Winner” in the Chicago Women in Publishing Award.

Stuart Lingo is Donald E. Petersen Professor in the Division of Art History at the University of Washington. He is currently completing Bronzino’s Bodies and Mannerism’s Masks, which re-reads “Mannerism” through its twin investments in the nude and the mask. A new project, Painting’s Dreams at the End of the World: America, Ancient Grotesques, and Artistic Invention c. 1500, reconsiders the ori- gins of the “High Renaissance” in relation to the decisive European encounter with America. Professor Lingo’s work has been supported by the Center for Advanced Study in the Visual Arts at the National Gallery and by Villa I Tatti, the Harvard University Center for Italian Renaissance Studies.

John A. Pinto is the Howard Crosby Butler Memorial Professor of the History of Architecture, Emeritus in the Department of Art and Archaeology at Princeton University. A Fellow of the American Academy in Rome, Pinto’s research interests center on architecture, urbanism, and landscape in Rome, especially in the eighteenth century. Among his publications are The Trevi Fountain (1986), Hadrian’s Villa and its Legacy (1995, co-authored with William L. MacDonald), Speaking Ruins: Piranesi, Architects and Antiquity in Eighteenth-Century Rome (2012), and City of the Soul: Rome and the Romantics (2016).

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Ingrid Rowland is Professor of History at the University of Notre Dame’s Rome Global Gateway. She first met Brian Curran in Italy, both of them in hot pursuit of the early modern forger Annius of Viterbo. A frequent contributor to the New York Review of Books, she has written more than a dozen books on Italian subjects, including The Scarith of Scornello: A Tale of Renaissance Forgery (2004), The Divine Spark of Syracuse (2018), From Pompeii: The Afterlife of a Roman Town (2015), and, with Noah Charney, The Collector of Lives: Giorgio Vasari and the Invention of Art (2017).

Robin Thomas Associate Professor of Art History and Architecture at the Pennsylvania State University, specializes in Italian baroque architectural history. He has published extensively on the city of Naples and is author of Architecture and Statecraft: Charles of Bourbon’s Naples, 1734–59. His current book project examines the palaces of Capodimonte, Caserta, and Portici.

Louis Alexander Waldman received his BA from Hunter College, CUNY, and his MA and PhD from the Institute of Fine Arts, NYU. He is Associate Professor of Art History at the University of Texas at Austin and was formerly Assistant Director for Programs at Villa I Tatti, The Harvard University Center for Italian Renaissance Studies.

William Wallace is the Barbara Murphy Bryant Distinguished Professor of Art History at Washington University in St. Louis. He is the author or editor of eight dif- ferent books on Michelangelo, including Michelangelo at San Lorenzo: The Genius as Entrepreneur (1994), Michelangelo: The Complete Sculpture, Painting and Architecture (1998), and Michelangelo: The Artist, the Man and his Times (2010/11). His most recent book about the artist in his 70s and 80s, Michelangelo, God’s Architect: The Story of His Final Years and Greatest Masterpiece, will appear shortly in paperback.

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