a

SHORTER NOTICES

JVeutdo cuments for Signorelli'sAnnunciation' at Volterra*

BYTOMHENRY

sIGNoRELLI's Annunciation in the Pinacoteca Civica at Volterra (Fig.al) has long been recognisedas one of the artist's great works. It is signedand dated in an inscription at the bottom of the first pier of the loggia LVcAScoRToNEN prNrqr MxDr - and it has been correctly assumedthat it was painted for the confraternity of the Virgin Mary, whose oratory is attached to the Cathedral in Volter- ra.' It was not mentioned by Vincenzo Borghini in his notebooks of 1558 or by Vasari in either edition of the Vitt, but was first described in this oratory in a manuscript guide to Volterra of 17+0/+1 (seeAppendix 3, below).Confirmation ofthe provenance is found in a group of unpublished documentsrecording pal,rnents to Signorelli, which also shed new light on the date of the commis- sion and how it was financed (seeAppendix I and 2). The Compagnia della Virgine Maria sita nel Duomo di Volter- ra, otherwiseknown as the Societasseu fraternitas disciplinatorum Virginis Marie, was the most prominent religious company in Volterra and a substantial property owner.' The Feast of the Annunciation was, not surprisingly, one of its major feastsand the oratory appearsto have been dedicated to the Annunciation since the fourteenth century.3It is also clear from a copy of the compa- ny's membership records from 1460 that many of the most impor- tant individuals in the city were members of the confraternity, and that it admitted both men and women.n The large oratory (Fig.40), which opens off the nave of the Cathedral immediately to the left of the entrance, is little changed. It is lit, as it always has been, by three windows in the west wall. 40. View towards the high a-ltarof the oratory of the Company of the Virgin Benozzo Gozzoli had painted aJoume2of theMagiin a niche on that Marv. Volterra Cathedral. wall, which had originally held a terracottaAdorationof theMagibt now contains a sculptedNatiui\t. The frescoesare usually consid- This can be identified as the small tabernacle now in the Museo ered to be late works by Benozzo,although a date in the 1460shas Diocesanoat Volterra and further demonstratesthe confraternity's alsobeen suggested.'Thefifteenth-century appearanceofthe prin- devotion to the Annunciation.s cipal altar at the far end ofthe oratory is recorded in an Episcopal The broken-pedimented eighteenth-century stone frame that Visitation of 1454.At this date the altar-piecewas a Virginand Child now stands above the principal altar at the end of the oratory is with saints.6An inventory of 1538 describesthe principal altar as exactly the right width (191 cm.) to have held Signorelli's altar- dedicated to the Annunciation, and lists the altar-furnishings piece and it must have been made for the picture, being inscribed 'AVE including a silver chalice with the arms of the Minucci family and with the archangel Gabriel's salutation MARrAcRATTA er-t,Ne'; a crystal cross.t The robing room behind the altar contained a we know that the altar-pieceremained in the oratory until the end tabernacle with wings representing the Angel Gabriel and the of the eighteenthcentury.s Nothing is known of the original frame Annunciate Virgin when open and StsPeter and Paul when closed. or whether it was of stone or gilded wood, but it is tempting to

xThis note has benefited from discussionswith Michael Hirst. Patricia Rubin. Anto- Suprosniphudominus episcopus aisitatit cappellm societatisSancte Marie tr/irginisitam in ucle- nio Guarini,Jill Dunkerton and RolfBagemihl, who had alsonoticed the documents sia Captedralisuprascripta quam bonamfulcitam et omataminuenit. Habet enimaltnre cum lapi published here. For their accurate transcliption I am particularly gratelul to Gho declnsecratl cum tubaliis nitidis etaliis paramentisnecessariis ad copiendumaltare predictum ante Corti and Gabriella Battista. et supracum tabula picta in cuiusmedio estftgura Beate Marie I4rginisac subsequmter alinrum 'See,e.g.a.paotuccr:LaPinacotecadiVoltma,Florence[1989],pp.l3a37(withfur- sanctontm-' ther bibliography). ASF, CRS, 2953, MCCXL.22,fol.ll7r-v:'Inuntario dellaRobbeMasseritie et cose delkz '!Two of their ffieenth-century volumes of records surwive.The first details proper- compagniaetfratemita della WrgineMaria dellaciptd di Volterra. . . I a Tauolagrandt allAltare ty owned and income derived from rents, with entries lrom 1476 to 156l (Archivio dellaAnnuntiata / ui candellieridottone per dictaAltare / / Una crocedi cistalk / 2 candellizri di Stato, Florence fhereafter cited asASF], Compagnie religiosesoppresse da Pietro difeno pr la Altare / I chortinadi telaa<4ra per dictaAltare e Tauola.'The date of the doc- Leopoldo fhereafter CRS] 2951, no.17). The secondis abook of Debitorie Creditori, ument is 25th April 1538. ' discussedbelow. 'Ibid., fol.178v: 1 tabemaculonello spogliatoio con San Pietro e SanPaolo dipinti nelli sportel- 3Thisis suggestedby the wiil of Paolo Inghirami, which provided for an image of the li'. For thesetabernacle doors. attributed to Bartolomeo della Gatta or the Maestro Annunciation to be painted above the entrance to the oratory (Archivio Storico dei putti bizarri, seeA. ANcELrNr,in r,. nrr,r,osr, ed.: Francescodi Giorgioe il Rinaximm- Comunale, Volterra, Testamenti, 1339-82, fol.92:'iudicauit dipxngtin maioi ecclesia toa Siena1450-1500, exh. cat.,S. Agostino,Siena [993], p.430. uultmana infacie campanilissupn ostiumper quodintratur in cappellamdisciplinatorum dicte '!The altar-piece is described as being in the oratory by severaleighteenth-century 'Notizie ecclesieAnnuntiationem V.M. gloriose').See u. cavallwl: e spogli di archivio', sourcesin addition to cIcNA (seeAppendix 3 below): Notiaiedelle pitture sculture che si RassegnaVoltenana,I ll92a],p.25, and n. sacBrutr{-:Painting and Sculpture in theDiocese uedononella cittd di Voltma,MS attributed to c. cumr, before 1756, transferredto ASF, of Volterra:a docummtaryinaestigaion1300 1400, unpublished doctoral dissertation, but said to be missirg; c. BoRGUCCTvERANr. Nlta delleHtture e sculture che si aedononelle New York University, 1994, pp.52 and341. rhiev di Voltena,1756, fol.216v, Biblioteca Guarnacci, Volterra; and ,l'. cnrusor-o: -ASF,.CRS 2953,MCCXL.22. Itineraio dellepitnre, sculhtre,ed architetturepiil rare di moltecittd d'Italia,Yicenza 11782], 'p. 'Volterra ra porta: nella seconda metd del Quattrocento', Pisa MuseoAperto, p.1 97. It was subsequendymoved to the chapel ofSt Charles Borromeo where it was pADoA Livorno, III [1989], p.2. See also e. Rrzzo: BenozzoGozzoli, Florence [1992], describedby e.r. cttt+c:r.r(Ricerche Storiche n Voltena,Siena[1 796], p.200), r.noNcnu, p.127 ;o. colr AHL:Benozzo Gozzoli,New Haven and London [1996], p.264; znd.e . 0p.cit. at note 5 above, p.54, and others. It was transfened to the newly-formed art LEoNcrM:Illutra

4L. Annunciation,byLuca Signorelli, after cleaning. 1491. Panel, 258 by 190 cm. (PinacotecaCivica, Volterra). suppose that its decoration may have echoed the architectural diture in the late- l480s and early-1490s contains entriesrelating to elements,in particular the pilasters,of the picture. Signorelli'saltar-piece. These establishthat, having taken the deci- Signorelli took careful account ofthe location in which his paint- sion to replace their existing altar-pieceand deputed three of their ing was to be placed. The three windows along the left-hand sideof membersto commissiona new one, on TthJanuary 1490'maestro the oratory account for the direction ofthe light in the picture, and Luchadi Glio dip'intore'waspaid ten florins by the chamberlain of the the artist has also adopted the shallow cross-vaultedceiling, with confraternity, Giovanni d'AntonioZatto (or Zacchi),as an advance 'onoreuol:i arched ribs dividing the bays, for the arcade in which the Virgin for the altar-piecethat he had agreed to paint. The three Mary stands.There is, however, no reasonto supposethat the ora- huornini'who had been elected to commission the picture were tory's vault was ever painted with the gold and blue decorative Marco di Riciardo Cavozzi, Bartolomeo di Ruberto Minucci and motifs that Signorelli has given the Virgin's loggia since these Ser PierFrancescodi Ser Filippo da San Miniato. These men were motifs recur in other pictures by him of this period.'o not only seniorfigures in the confraternity, they were alsoextreme- A volume ofDbitoi e Creditoricoverins the confraterniw's expen- Iy prominent in local affairs. Ser PierFrancescowas the Chancellor

'oFor example ,gn the architectural elements of the Bichi altar-piece (Berlin, sTREHLKE:Paintingin Rmaissanu Sima 1420-1500, exh. cat., Metropolitan Museum Staatliche Museen): see L.B. KANTER.in r. crnrsruNsEN. L.B. xaNrlp and c.s. ofArt, NewYork [1988],p.342. 475 SHORTER NOTICES

work on the Annunciatioz,there was a thirteen-month interlude There are then regular payrnents in Volterra from 6th Februar until l3th May 1491.One of these,made on 20th April, was cc 'Filippo Iected by sao', indicating that Signorelli had brought member of his workshop (or household)with him to Volterra. Of the total of seventyflorins, six were paid to the panel-mak Maestro Bartolomeo da Colle in two equal instalments on 2Br March and 5th Muy.'n The panel is constiucted offive large plan (Fig.41),probably ofpoplar, standingvertical to the picture surfac andjoined by two horizontal battenswhich appear to be later sul stitutesfor the original, broader, horizontal supports.The pictu. was finished by 13th May and appraised (senten/ata)by the thrr committee members with Signorelli's agreement at the final prir of seventyflorins, making a pious referenceto their being for 'tl salvation of their souls and those of the brothers of the said plar and especiallythe benefactors'.However, it was not only benefa tions from thesewell-wishers that paid for the altar-piece.With the month, the syndicsof the confraternitysold their old altar-pier to Ser Giovanni di Gherardo da Montecatini, the priest of nearl Montegemoli, and to one of his parishioners,Piero di Piero callt Pierone, for a price of ten florins (seeAppendix 2).'' It seemsposl ble that part of the old altar-piecemay survive as a fragment in tl church of S. Bartolomeo at Montegemoli (Fig.a3). This panr which has been attributed to Francesco di Neri Giuntarini < Volterra, has evidently been cut down. It was recorded in its pr sent fragmentary state in the seventeenthcentury when the tht incumbent priest incorporated it into a new devotional ensemble Its scalesuggests that it once formed the central part of a triptyr or polyptych, and it could be a fragment from the altar-pieceso to the parish in 1491. As we saw from the Episcopal Visitation 7454, that had been a Virginand Cltild with saints. In 1731 Signorelli's Annuncintionwas split in three when it w 42. Back ofthe panel in Fig.4l thrown from its altar after a bolt of lightning struck the campani of the cathedral and sent masonry falling through the roof of tl oratory. In his manuscript Notiafudelle Pitnne e Sculturedi Volterra of Volterra and, like Marco Cavozzi, a member of the ruling coun- l7+04l,Ippolito Cigna, who has been describedas one of tl cil of Twelve, while Bartolomeo Minucci was one of the city's rich- most important restorersof the eighteenth century," givesa fasc estcitizens.'1 Moreover, both Cavozzi and Minucci were recipients nating account ofhis restoration of the picture after this natur of letters from Lorenzo de' Medici in l49t ; a fact that may be of disaster(Appendix 3).Although he doesnot mention them, the tv relevancefor how Signorelli was brought to their attention.12 butterfly inserts cut into two of the planks of the panel suppo The act of commission,which specifiedwhat was to be painted (Fig.a2)were probably added by Cigna aspart of his repairs.Ovr and the sum that Signorelli was to receive,is describedas an'iscrit- a three-month period Cigna went on to clean and restorethe pain ta' rather than a notarised contract and was probably an informal ing.'' He noted that the paint surfacehad sufferedfrom peeling r vernacular record ofthe agreement(see Appendix 1).It hasnot sur- a result of damp conditions, and that a previous restoration hz vived, but we learn the price that was finally paid, seventyflorins, seenseveral holes filled with wax. The recently completed reston from an entry on the facing page ofthe account book. BetweenJan- tion of the picture has proved this information to be correct, and uary 1490, when Signorelli was in Volterra to agree the commis- has also confirmed that much of the Vircin's drapery had to t sion and receive his advance. and Februarv 1491 when he started reconstructedby Cigna after the depredationsof an earlierresto

"r.r. orovalnnr: Cronistoriadril'Antichitd, e Nobilitd di Voltena,Pisa [1613], pp.15, I9; much as six florins. The panel lor Botticini's round-topped altar-piece of a simil 'huomo 's Minucci was described as certoda bne e di honestaconsenatione, e nella Ciud pn le size(280.7 by 165.3 cm., compared withthe Annunciation 258 by 190 cm.), paintr suerichel4 di gran creditoe potere' . Both Cavozzi and Minucci also served on the XV lor Fucecchio in 1492-93, cost three florins; seeR. RoANrlrr,r-eu: 'Il contratto della Pratica in l4B9 (ASF, Tratte 1550, fol.270r), and their pro-Medici positions allogagionea FrancescoBotticini della pala con la Vergine e Santi del Metropolitz arealsoestablishedinn.r'ruur:L'imprnadilareryode'MediticontraVolttna, l4T2,Flo- Museum di New Y ork', Studidi StorindellArte, III [1993], pp.25 1 55. It may be th rence [948], pp.97, 155. According to the confraternity's membership records, maestro Bartolomeo's secondpalment related either to the lraming or to the instz Marco Cavozzi joined c.1480, Bartolomeo Minucci in 1482, and Ser Pierfrancesco lation of the altar-oiece. ''This di Ser Filippo in the late-l480s, but belore 14BB(document cited at note 4 above, splewas apparently set down in a notarial act made by SerJacopo da Cast fols.2v, 3r and 7r). Fiorentino whose protocols do not survive in the ASF. ''rr. 'oAn onr ptAzzo: Protocolli del Carteggiodi Iarenzo il Magnfuo, pr gli anni 1473-4, altemative suggestionfor how this picture came to Montegemoli hasbeen co: 1477-92,Florence [956], pp.a60 (16thJune l49l),462 ( SthJuly 1491).Lorenzo's structed around a document ofthe late-1430s which shows that at that date tl r6le is further discussedin'r. nBNrRv:Tlte CareerofLuca Signorelkinthe 1490s,tnpub- parishioners had collected 165 llrewith which to purchase a new altar-piece,and lished doctoral thesis,University ofLondon, 1996, pp.50-57,63 64, 101-02. A has been suggested,but without conclusive evidence, that the panel was commi direct link is not, however, necessarygiven that Signorelli may already have paint- sioned direcdy from Francescodi Neri. For the attribution and the document - bo1 ed the Circumcisionin the National Ga11ery,London, for a Volterran confraternity, due to Rolf Bagemihl - seethe pamphlet by lr. noccr: La Chiesadi Montegnnoli,n the Company of the Holy Name ofJesus. placeor date [99a], pp.1-2. ''During ''See this period Signorelli is documented in Cortona on 3rd September and a. coNTI: Stlria dtl restaurl e della consemaTionedellz opered'arte, Milan ll9BB 22nd October, but was again absent by late December; seec. MANcrNr:hn di htca pp.40, 79 80. Cigna also restored Signorelli's Circumcisioiinthe National Galler Signorelk,Florence 11903], p.243; i"dnn:Noti

per contanti fiorini tre d'oro in oro adi 28 di marzo 1491 e per 1ui al maestro fa Ia tavola di lengname a uscita a Giovanni Zatto ch'd z c.76 f.3 1., Der contanti a llui detto di S rrenra f.- L1 s.l per contanti a llui a di 26 di marzo 1491 posta a c.76 fiorini uno d'oro in oro f.1 1.- per contanti lile tre e soldi 3 a di 9 d'aprile posta a c.76 f.0 1.3 per contanti per in sino a di I 7 d'aprile fiorini cinque d'oro in oro larghi ebbe da Permerino di Giovanni come apare a mia intrata a c. 14 et in uscita a c.77 r-3 I.- per contanti a 1ui detto a di 20 d'aprile portd Filippo suo lire 3 et soldi dieci a tsc:Ltaa c.77 f.- I.3 per contanti a llui a di primo di maggio uno fiorino d'oro in oro atscita z c.77 f.l l.- per contanti insino a di 5 di maggio 1491 ducati tre d'oro ir oro e per lui al maestro Bartolomeo da Colle che fe' la tavola i quali li dd Pamerino a :uscrtaa c.77 f.3 1., per contanti a di 12 fiorini dicemnove d'oro in oro meno soldiventi due a wcita a c.77 f.l8 1.5 per contanti dd per noi Marcho Covazzi fiorili ventiquatro che Ii prestd et postone a creditore di rincontro f.24 l.- posto di rincontro

Wt.26rl Adi 13 di maggio 1491 43. Wrginand Chitd,- - - - Maestro Lucha di Giglio dipintore de' avere per fattura della ;:*;::1::*..,}t']hffi;'iriTi.:','ffi Giuntarini da Filippo Cancellieri del "#',T::'i:.ll|;#-Y':ru:lcomune di Voltena tutti della Volterra. c.1370- compangnia dacordo con maestro soprascritto di fiorini 1400.Tempera on septantad'oro in oro che tutto sia a ssalutedell'anime loro paneI, c.75 by 45 cm et de' fratelli di detto luogho massime de'benefattori f.70 L (S. Bartolomeo, dnne amto per una ragione di rincontro f settanta valse el Montegemoli). fiorino lire 6 soldi dieci f.70 1.- Marcho di Ricciardo Covazzi de' avere oer insino a di suprascriptofiorini vintiquatro d'oro in oro d presroper dare a maestro Lucha appare alla ragione a maestro er.'e Cigna himself records that his reconstruction of this area was 'Mantovana' Lucha f.24 l.- based on a print made in 1585 by Diana (Diana inne amto lire cinquanta e per detta conpagnia dd Giovan- Ghisi; 1535-87) after Signorelli's picture.20This print survivesin ni d'Antonio Zatho camarlingho e per detto Giovanni dal only tlvo impressions,in the Biblioteca Marucelliana in Florence Jacopo di Giuliano da Tresschi appare a ssuaragione in questo a c. 26 nella faccia dinanzi f. 1.52 I and the Bibliothdque Nationale in Paris, and is further evidenceof the diligence with which this admirable eighteenth-centuryrestor- er approached Signorelli'sAnnunci.ation. 2.The Cornpany of the Virgin Mry sell their old altar-piecer 4thJu Courtauldlrctihrte ofArt, London l49l-2lst April 1494 (ibid.,fols.26v-27r).

'tI am very grateful to Mariagiulia Burresi and Clara Baracchini for arranging for lfol.26ul me to seethe picture ir restoration inJuly 1997, md to Antonio Guarini for inform- Adi4digiugnio 1491 ing me about his restoration ofthe panel. The restoration hasbeen the subjectofthe Ser Giovanni di Gherardo da Montecatini prete di Monte exhibition at the Museo Nazionale di S. Matteo, Pisa (closedl8thJune) and will be Giemmoli et Piero di Piero detto Pierone da Monte Giem- discussedin M. nr-lnREsr,ed.: Luca Signorellia Voltma: ilrestaurodellaAnnunciazione,Siena moli ddnno dare in solido I'uno per l'atro per una tavola [1998,forthcoming]. la qua"leistava nella Compagnia nostra fiorini dieci a lire 'Le 'oSeen. eoREA: stmpe dai primitivi e l'ar,wentodella storiografia artistica illus- 4 il fiorino dnno a ppaghare per tutto questo mese trata. 1', Prospetiua,I)(IX [1993], pp.28-40 (especiallyp.29), and The Illushated soprascritto Lire trentadue e s 10 e resto aghosto prosimo Bartsch,XXX7, New York [1986], p.239. a venire. lnotein margin:posta dirimpetto] La quale tavola vendd loro Marcho di Riciardo Covazzi,e Ser Francesco di Messer Niccolo Leostelli sindichi elletti dal como della Compagnia a venderla come appare perrogho G Ser Appendix Jacopo da Castello Fiorentino t.+0 E ddnno dare s. trenta sei fatto per 1espese per insino a di l Payrnents to Signorelli for the Volterra 'Annunciation' altar-piece, 7th 7 di decembre 1491 l.l s January 1490 to lSth May 1491 (ASF, Compagnie Religiose Soppresseda Pietro dnne dato insino a di detto da Ser Giovanni fiorini ouatro Leopoldo, no.2949, MCCXL.B, Compagnia della Virgine Maria sita nel Duomo di d'oroinoro acartalL 1.26 s Yoltena, Debitori e Credinri, ru74-1648). lfot.27rl lfot.2sul Adi 21d'aprile 1492 A di 7 di gienaio 1489 Ser Giovanni di Gherardo prete di Monte Giemoli de' dare Maestro Lucha di Gilio dipintore de' dare a di suprascritto per rma sua ragione dirimpetto l. quindici e soldi sedici 1.5 s. per contanti fiorini dieci d'oro in oro larghi i quali li dd Anne dato detto di contanti et oer lui Marcho de Monte Giovanni camarlingho et postoli a uscita a libro della sua Giemmoli L lo largo valse1.6 s. l0 a entrata di Ser Matheo entrata e uscita a c.73 i quali danari so'per parte della acattalL 1.6 s. tavola d ffare chome se n'era da[]ii onorevoli huomini iinne dato da contanti fiorini uno d'oro in oro recchd il fat- elletti e diputata [nr] dalla compagnia a'lloghare detta tore Fabro ista a Selci il quale de' Ser Giovanni e posto tavola, i quali sono prirno Marco Cavozz\ Bartolomeo di eintraac pacuna]aGiovanniCamarlinghoac. 15 1.6 s.. Ruberto, Ser Piero Francesco Cancellieri, et dLnneuna inne dato contmti a di 3 di gienaio i493 L due et s. sedici a 'vere iscritta di III sopra scritti, nel modo d ffare e di quello d carta 17 I.2 s.. che si pone creditore di rincontro quello sard chiarito, sendo detta sscrittada decti huomini f.10 1. 3. Ippolito Cigna's account ofhis restorations ofthe 'Annunciation', (Fl per uno alfonxino a di 6 di Febraio 1490 valse L 9 S 15 rence, Biblioteca Riccardiana, MS Moreni 112, Noti

Obituaries

PamelaAsluw (1925-97) Seven weeks before Pamela died after a long battle with lyr phoma, a symposiumwas held at Vassar on lst May 1997to cel brate the gift in her honour, to the Art Gallery of Fetti's Artanit eAMEI-AASKEWwas born while her father, Arthur McComb, author from the Robert Lee Manning and Bertina Suida Manning Cha of a pioneering monograph on Bronzino, was teaching at Vassar itable Trust. With evident love of her subject, she gave a brillia College. Although she grew up in New York City in the inter- talk on Vassar'snew painting (condensedin the newsletterof tl national art world which surgedaround her mother and step-father, Friends of the Frances Lehman Loeb Art Center, Art at Vasst Constanceand Kirk Askew, Vassarbecame the centre of her life. Fall 1997, pp.l 2). Explaining Fetti's 'profound inwardness' As a Vassar undergraduate, Pamela took English as her major revealedin the complex classicaland religious allusionsin this all subject,but her graduatestudies were in art history. She completed gorical portrait, this paper typified the deep knowledge and syn her MA in 1951at the Institute of Fine Arts in New York with a the- pathetic enthusiasmshe brought to the subject. sis on Perino del Vaga partly published in an article in this Maga- zine ('Perino del Vaga's decorationsfor the PalazzoDoria, Genoa', ,.;ffi;;:;:ffi XCVIII, 1956,pp.46-53), and shetook her Ph.D. in 1954 at the Courtauld Institute of Art in London with a thesis,supervised by JohannesWilde,.on Domenico Fetti. Shelater wrote severalarticles on Fetti, two of which appeared in this Magazine (CIII, 1961, BerniceDauidson (I I 2 7-9 B) pp.245-52; CXX, 1978,pp.59-65). Shereturned to teachat Vas- sar,becoming a full professorin 1969: her sensitivereceptiveness, acute senseof humour, and superb delivery illuminated not only BE RN I CE DAVI D S o N, who had beenresearch curator at The Fri( the work of art under consideration, but also her pupils. In l9BB Collection from 1965 until her retirement in August 1997,died c she received the College Art Association'saward for distinguished 24th February 1998.Born in New York in 1927, Bunny (asshe w teaching of art history. During 1976 77, she was a fellow of the universallyknown) was a graduateof the Horace Mann Schoolar Institute for Advanced Study at Princeton. WellesleyCollege, and receivedher Ph.D. in art history from Rar Her publications are uncommonly perceptive and intuitive, sup- cliffe College in 1954, with a dissertation on Marcantonio Ra ported by a rigorous erudition. Her bibliography includes sixteen mondi's Roman period. She first came to the Frick fresh fror articles mainly on Fetti and other seventeenth-centuryItalian and Harvard in 1954 to carry out researchfor the catalogueof pain 'The French artists.An important example is Angelic Consolation ings. Before returning as a permanent member of staffin 1965,sl of St. Francis ofAssisi in Post-Tridentine Italian Painting',Joumal wasfrom 1956to 1960chief curator of the Rhode IslandSchool , of the Warburgand CourtauldInstitutes, XXXIII, 1969, pp.280-306. Design Museum ofA-rt, after which shespent someextremely frui Her introduction to Claudt Lorrain, 1600-1 682: A S1mposium firl years of research in Italy, which culminated in the importar fNational Gallery of Art, 1984),which she edited, is a masterpiece exhibition of Perino del Vaga's drawings (Mostradei disegnidi Pnit 'Death of descriptive wdting. Her book on Carauaggio's of the Virgin' del Vagae la sua cerchin)which she selectedand cataloguedat * (Princeton, 1990) is a study of the complex cross-currentsamong Uffizi in 1966. patrons, confraternities and theology in the first years ofthe seven- Bunny's area of expertisecontinued to be sixteenth-centuryIta teenth century which o{fersa profound insight into the meaning of ian art with a specialisationin and artists of his circle i 'Out- the scene.This was followed by her persuasivecontribution, , especiallyPerino del Vaga, on whom shebecame the leat ward action. Inward vision' to MichelangeloMerisi da Carauaggio:la ing authority. She published many articles inthe Art Bulletin,Masl uitae le opueattraaersl i dlcumenti(Atti dzl ConuegnoIntemalionale di Studi, Ihauings and rrm, BURLTNGToNMAGAZTNE. Her book Raphazl'sBibl Roma,1995), Rome, 1996, pp.248-69. She left two bookJength A Stub of theVaticanfugqe, published in 1983, explored the interar manuscripts:one on Domenico Fetti, the other a history of the Vas- tion of form and meaning in that seminalcycle offrescoesand stu( sar Art Department and Gallery; both are now being prepared for coesproduced by Raphael and his workshop. publication by friends and colleagues. At the Frick, Bunny worked in all areasof the collection. Shew:

+78