Hostname: page-component-cd9895bd7-7cvxr Total loading time: 0 Render date: 2024-12-23T06:59:34.692Z Has data issue: false hasContentIssue false
  • English
  • Français

Jusepe de Ribera's Five Senses and the Practice of Prudence

Published online by Cambridge University Press:  31 December 2021

Hannah Joy Friedman
Hannah Joy Friedman*
Affiliation:
University of Zurich
Get access Rights & Permissions [Opens in a new window]

Abstract

Painted in Rome around 1615, Jusepe de Ribera's series of half figures personifying the five senses invites a diplomatic audience associated with the Lincean Academy to a performance of prudence, a virtue meant to characterize the judgment of both art and of sensory experience. Ribera's series is new evidence for how the demonstration of prudence in conversation motivated ownership and display of art and shaped art's contribution to natural philosophy. Ribera's “Five Senses” articulates the distinction between sense and prudence, and reveals the importance of discussion, dissimulation, and social performance to the way early Seicento art was produced and consumed.

Type
Articles
Information
Renaissance Quarterly , Volume 74 , Issue 4 , Winter 2021 , pp. 1111 - 1161
Copyright
Copyright © The Author(s), 2021. Published by the Renaissance Society of America

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

The research for this article was completed thanks to a Paul Mellon Predoctoral Fellowship from the Center for Advanced Study in the Visual Arts at the National Gallery of Art, Washington, DC. My heartfelt thanks to CASVA, to the editors and the two anonymous reviewers for Renaissance Quarterly, and also to Yoko Hara, Felipe Pereda, Stephen Campbell, Michael Fried, Adam Jasienski, Peter Mason, Florike Egmond, Brianne Cohen, Elizabeth Schwartz, and Alex Neroth van Vogelpoel. Unless otherwise noted, all translations are mine.

References

BIBLIOGRAPHY

Accademia della Crusca. Vocabolario degli Accademici della Crusca, con tre indici delle voci, locuzioni, e proverbi latini, e greci, posti per entro l'opera. Venice: Giovanni Alberti, 1617.Google Scholar
Ago, Renata. Gusto for Things: A History of Objects in Seventeenth-Century Rome. Trans. Bouley, Bradford, Tazzara, Corey, and Findlen, Paula. Chicago: University of Chicago Press, 2013.10.7208/chicago/9780226008387.001.0001CrossRefGoogle Scholar
Alberti, Leon Battista. On Painting. Ed. and trans. Spencer, John R.. New Haven, CT: Yale University Press, 1966.Google Scholar
Aragó Estrasser, Daniel. “Acerca de la presencia del motivo del paragone en dos pinturas de Ribera.” Boletín del Museo e Instituto Camón Aznar 64 (1996): 127–62.Google Scholar
Aristotle. On the Soul; Parva Naturalia; On Breath. Trans. Hett, W. S.. Loeb Classical Library 288. Cambridge, MA: Harvard University Press, 1957.Google Scholar
Aristotle. Aristotelis Opera cum Averrois Commentariis. 12 vols. 1552. Reprint, Frankfurt am Main: Minerva, 1962.Google Scholar
Aristotle. “On the Art of Poetry.” In Classical Literary Criticism, ed. and trans. Dorsch, T. S., 32–75. New York: Penguin Books, 1965.Google Scholar
Aristotle. Nicomachean Ethics. Ed. and trans. Crisp, Roger. Cambridge: Cambridge University Press, 2014.Google Scholar
Aznar Recuenco, Mar. “Pedro Cosida, agente de su Majestad Felipe III en la Corte Romana (1600–1622).” Boletín del Museo e Instituto Camón Aznar 109 (2012): 143–76.Google Scholar
Baader, Hannah. “Giudizio, Geschmack, Geschmacksurteil.” In Metzler Lexikon Kunstwissenschaft: Ideen, Methoden, Begriffe, ed. Pfisterer, Ulrich, 153–57. Stuttgart: J. B. Metzler, 2011.10.1007/978-3-476-00331-7_62CrossRefGoogle Scholar
Baldriga, Irene. L'Occhio della Lince: I primi Lincei tra arte, scienza e collezionismo (1603–1630). Rome: Accademia Nazionale dei Lincei, 2002.Google Scholar
Baldriga, Irene. “Reading the Universal Book of Nature: The Accademia dei Lincei in Rome (1603–1630).” In The Reach of the Republic of Letters: Literary and Learned Societies in Late Medieval and Early Modern Europe, ed. van Dixhoorn, Arjan and Speakman Sutch, Susie, 2:359–65. Leiden: Brill, 2008.Google Scholar
Barocchi, Paola, ed. Scritti d'arte del Cinquecento. 3 vols. Milan: Ricardo Ricciardi Editore, 1971–77.Google Scholar
Bellori, Giovanni Pietro. The Lives of the Modern Painters, Sculptors and Architects. Trans. Wohl, Alice S.. Notes by Hellmut Wohl. Cambridge: Cambridge University Press, 2005.Google Scholar
Biagioli, Mario. Galileo Courtier: The Practice of Science in the Culture of Absolutism. Chicago: University of Chicago Press, 1993.10.7208/chicago/9780226218977.001.0001CrossRefGoogle Scholar
Biagioli, Mario. Galileo's Instruments of Credit: Telescopes, Images, Secrecy. Chicago: University of Chicago Press, 2006.10.7208/chicago/9780226045634.001.0001CrossRefGoogle Scholar
Bouza, Fernando. “De Rafael a Ribera y de Nápoles a Madrid: Nuevos inventarios de la colleción Medina de las Torres Stigliano (1641–1656).” Boletín del Museo del Prado 27.45 (2009): 44–71.Google Scholar
Brown, Jonathan. Jusepe de Ribera: Prints and Drawings. Princeton, NJ: Princeton University Art Gallery, 1973. Exhibition catalogue.Google Scholar
Campbell, Stephen J. The Endless Periphery: Toward a Geopolitics of Art in Lorenzo Lotto's Italy. Chicago: University of Chicago Press, 2019.10.7208/chicago/9780226481593.001.0001CrossRefGoogle Scholar
Il cannocchiale e il pennello: Nuova scienza e nuova arte nell'età di Galileo. Ed. Tomasi, Lucia Tongiorgi and Tosi, Alessandro. Pisa: Palazzo Blu, 2009. Exhibition catalogue.Google Scholar
Castiglione, Baldassare. The Book of the Courtier. Trans. Bull, George. New York: Penguin Books, 1976.Google Scholar
Cavaillé, Jean-Pierre. Dis/simulations: Jules-César Vanini, François La Mothe Le Vayer, Gabriel Naudé, Louis Machon, et Torquato Accetto: Religion, morale et politique au XVII e siècle. Paris: Champion, 2002.Google Scholar
Cavazzini, Patrizia. Painting as Business in Early Seventeenth-Century Rome. University Park: Pennsylvania State University Press, 2008.Google Scholar
Chappell, Miles. “‘Il vero senza passione’: Proposte su Cigoli e Galileo.” In Il cannocchiale e il pennello (2009), 131–41.Google Scholar
Chiarini, Marco, ed. Livio Mehus: Un pittore barocco alla corte dei Medici 1627–1691. Florence: Palazzo Pitti, 2000. Exhibition catalogue.Google Scholar
Clifton, James. “Ad Vivum Mire Depinxit: Toward a Reconstruction of Ribera's Art Theory.” Storia dell'Arte 83 (1995): 111–32.Google Scholar
Cropper, Elizabeth. “The Petrifying Art: Marino's Poetry and Caravaggio.” Metropolitan Museum Journal 26 (1991): 193–212.10.2307/1512912CrossRefGoogle Scholar
Cropper, Elizabeth. “Caravaggio and the Matter of Lyric.” In Caravaggio: Realism, Rebellion, Reception, ed. Warwick, Genevieve, 47–56. Newark: University of Delaware Press, 2006.Google Scholar
Cropper, Elizabeth, and Dempsey, Charles. Nicolas Poussin: Friendship and the Love of Painting. Princeton, NJ: Princeton University Press, 1996.Google Scholar
Danesi Squarzina, Silvia, ed. Caravaggio in Preußen: Die Sammlung Giustiniani und die Berliner Gemäldegalerie. Berlin: Altes Museum, 2001. Exhibition catalogue.Google Scholar
Danesi Squarzina, Silvia. “New Documents on Ribera, ‘Pictor in Urbe,’ 1612–16.” Burlington Magazine 148.1237 (2006): 244–51.Google Scholar
D'Angelo, Paolo. “Il gusto in Italia e Spagna dal Quattrocento al Settecento.” In Il Gusto: Storia di una idea estetica, ed. Russo, Luigi, 11–34. Palermo: Aesthetica Edizioni, 2000.Google Scholar
Dell'Antonio, Andrew. “‘Particolar gusto e diletto alle orecchie’: Listening in the Early Seicento.” In Culture and Authority in the Baroque, ed. Ciavolella, Massimo and Coleman, Patrick, 106–21. Toronto: University of Toronto Press, 2005.10.3138/9781442673656-007CrossRefGoogle Scholar
Dell'Antonio, Andrew. Listening as Spiritual Practice in Early Modern Italy. Berkeley: University of California Press, 2011.Google Scholar
De Renzi, Silvia. “Courts and Conversions: Intellectual Battles and Natural Knowledge in Counter-Reformation Rome.” Studies in the History and Philosophy of Science 27.4 (1996): 429–49.10.1016/0039-3681(95)00058-5CrossRefGoogle Scholar
De Renzi, Silvia. “Medical Competence, Anatomy and the Polity in Seventeenth-Century Rome.” Renaissance Studies 21.4 (2007): 551–67.10.1111/j.1477-4658.2007.00462.xCrossRefGoogle ScholarPubMed
De Renzi, Silvia, and Sparti, Donatella Livia. “Mancini, Giulio.” In Dizionario Biografico degli Italiani, vol. 68. Rome: Istituto della Enciclopedia Italiana, 2007. http://www.treccani.it/enciclopedia/.Google Scholar
Desmas, Anne-Lise, and Freddolini, Francesco. “Sculpture in the Palace: Narratives of Comparison, Legacy, and Unity.” In Display of Art (2014), 267–82.Google Scholar
Display of Art in the Roman Palace 1550–1750. Ed. Feigenbaum, Gail and Freddolini, Francesco. Los Angeles, CA: Getty Institute, 2014.Google Scholar
Drake, Stillman. Discoveries and Opinions of Galileo. New York: Random House, 1957.Google Scholar
Eliav-Feldon, Miriam, and Herzig, Tamar, eds. Dissimulation and Deceit in Early Modern Europe. London: Palgrave Macmillan, 2015.10.1057/9781137447494CrossRefGoogle Scholar
Ertz, Klaus, and Nitze-Ertz, Christa. Jan Brueghel der Ältere (1568–1625): Kritischer Katalog der Gemälde. 4 vols. Lingen: Luca Verlag, 2008–10.Google Scholar
Estevez, Lisandra. “Ribera's Northern Italian Nexus.” In Artistic Circulation between Early Modern Spain and Italy, ed. Dio, Kelly Helmstutler Di and Mozzati, Tommaso, 131–51. London: Routledge, 2020.10.4324/9780429467936-8CrossRefGoogle Scholar
Farina, Viviana. All'ombra e al sole di Ribera: Questioni di pittura e disegno a Napoli nella prima metà del Seicento. Castellamare di Stabia: Nicola Longobardi Editore, 2014.Google Scholar
Feci, Simona, Bortolotti, Luca, and Bruni, Franco. “Giustiniani, Vincenzo.” In Dizionario Biografico degli Italiani, vol. 57. Rome: Istituto della Enciclopedia Italiana, 2001. http://www.treccani.it/enciclopedia/.Google Scholar
Feigenbaum, Gail. “Introduction: Art and Display in Principle and in Practice.” In Display of Art (2014), 1–24.Google Scholar
Ferino-Pagden, Sylvia, ed. Los Cinco Sentidos y el Arte. Madrid: Museo del Prado, 1996. Exhibition catalogue.Google Scholar
Fick, Monika. “Geschmack.” In Historisches Wörterbuch der Rhetorik, ed. Gert Ueding, 3:870–901. Tübingen: Max Niemeyer Verlag, 1996.Google Scholar
Figliucci, Felice. Della filosofia morale libri dieci: Sopra i dieci libri dell'etica d'Aristotile. Venice: Giovanmaria Bonelli, 1552.Google Scholar
Finaldi, Gabriele. “A Documentary Look at the Life and Work of Jusepe de Ribera.” In Jusepe de Ribera (1992a), 3–8.Google Scholar
Finaldi, Gabriele. “Documentary Appendix: The Life and Work of Jusepe de Ribera.” In Jusepe de Ribera (1992b), 231–56.Google Scholar
Findlen, Paula. Possessing Nature: Museums, Collecting, and Scientific Culture in Early Modern Italy. Berkeley: University of California Press, 1994.Google Scholar
Findlen, Paula. “Science, Art, and Knowledge in Seventeenth-Century Rome: Survey Review of David Freedberg, The Eye of the Lynx: Galileo, His Friends, and the Beginnings of Modern Natural History, and Irene Baldriga, L'Occhio della Lince. I primi Lincei tra arte, scienza e collezionismo (1603–1630).” Metascience 13 (2002): 275–302.Google Scholar
Fosi, Irene. “Johannes Faber: Prudente mediatore o ‘estremo persecutore dei protestanti’?” In I primi Lincei e il Sant'Uffizio: Questioni di scienza e di fede; Atti del convegno, Roma 12–13 giugno 2003, 189–206. Rome: Bardi, 2005.Google Scholar
Fried, Michael. The Moment of Caravaggio. Princeton, NJ: Princeton University Press, 2010.Google Scholar
Fried, Michael. After Caravaggio. New Haven, CT: Yale University Press, 2016.Google Scholar
Frigo, Alberto. “Can One Speak of Painting if One Cannot Hold a Brush? Giulio Mancini, Medicine, and the Birth of the Connoisseur.” Journal of the History of Ideas 73.3 (2012): 417–36.10.1353/jhi.2012.0025CrossRefGoogle Scholar
Fumaroli, Marc. “Rome 1630: Entrée en scène du spectateur.” In Roma 1630: Il trionfo del pennello, ed. Bonfait, Olivier, 53–82. Florence: Villa Medici, 1994. Exhibition catalogue.Google Scholar
Gabrieli, Giuseppe. Contributi alla storia della Accademia dei Lincei. 2 vols. Rome: Accademia Nazionale dei Lincei, 1989.Google Scholar
Gage, Frances. “Giulio Mancini's ‘Considerazioni Sulla Pittura’: Recreation, Manners, and Decorum in Seventeenth-Century Roman Picture Galleries.” PhD diss., Johns Hopkins University, 2000.Google Scholar
Gage, Frances. “‘Some Stirring or Changing of Place’: Vision, Judgement and Mobility in Pictures of Galleries.” Intellectual History Review 20.1 (2010): 123–45.10.1080/17496971003638290CrossRefGoogle Scholar
Gage, Frances. “Observing Order.” In Display of Art (2014), 204–14.Google Scholar
Gage, Frances. Painting as Medicine in Early Modern Rome: Giulio Mancini and the Efficacy of Art. University Park: Pennsylvania State University Press, 2016.Google Scholar
Gage, Frances. “Air, Wind, Sun, Spirit: The Cosmology of Guido Reni's Aurora.” Nuncius 32 (2017): 658–82.10.1163/18253911-03203007CrossRefGoogle Scholar
Galilei, Galileo. Le Opere di Galileo Galilei. 20 vols. Florence: Barbera, 1890–1909.Google Scholar
Giustiniani, Vincenzo. Discorsi sulle arti e sui mestieri. Ed. Banti, Anna. Florence: Sansoni, 1981.Google Scholar
Grassi, Luigi. “Gusto.” In Dizionario di arte: Termini, movimenti, e stili dall'antichità a oggi, ed. Grassi, Luigi and Pepe, Mario, 334–36. Turin: Utet Libreria, 2003.Google Scholar
Green, Otis H. “The Literary Court of the Conde de Lemos at Naples, 1610–1616.” Hispanic Review 1.4 (1933): 290–308.10.2307/469947CrossRefGoogle Scholar
Hecht, Peter. “The paragone Debate: Ten Illustrations and a Comment.” Simiolus 14.2 (1984): 125–36.10.2307/3780590CrossRefGoogle Scholar
Ho, Angela. “Invitation to Compare: Frans van Mieris's ‘Cloth Shop’ in the Context of Early Modern Art Collecting.” Renaissance Studies 23.5 (2009): 694–717.10.1111/j.1477-4658.2009.00576.xCrossRefGoogle Scholar
Honig, Elizabeth. Jan Brueghel and the Senses of Scale. University Park: Pennsylvania State University Press, 2016.Google Scholar
El Joven Ribera. Ed. Milicua, José and Portús, Javier. Madrid: Museo del Prado, 2011. Exhibition catalogue.Google Scholar
Jusepe de Ribera, 1591–1652. Ed. Sánchez, Alfonso E. Pérez and Spinosa, Nicola. New York: Metropolitan Museum of Art, 1992. Exhibition catalogue.Google Scholar
Klein, Robert. Form and Meaning: Essays on the Renaissance and Modern Art. Trans. Jay, Madeline and Wieseltier, Leon. New York: Viking Press, 1979.Google Scholar
Konečný, Lubomír. “Los cinco sentidos desde Aristóteles a Constantin Brancusi.” In Los Cinco Sentidos y el Arte, ed. Ferino-Pagden, Sylvia, 29–54. Madrid: Museo del Prado, 1996. Exhibition catalogue.Google Scholar
Kusukawa, Sachiko. “The Sources of Gessner's Pictures for the Historia Animalium.” Annals of Science 67.3 (2010): 303–28.10.1080/00033790.2010.488899CrossRefGoogle ScholarPubMed
Lange, Justus. “Opere veramente di rara naturalezza”: Studien zum Frühwerk Jusepe de Riberas mit Katalog der Gemälde bis 1626. Würzburg: Ergon Verlag, 2003.Google Scholar
Lincoln, Evelyn. Brilliant Discourse: Pictures and Readers in Early Modern Rome. New Haven, CT: Yale University Press, 2014.Google Scholar
Loh, Maria. “New and Improved: Repetition as Originality in Italian Baroque Practice and Theory.” Art Bulletin 86.3 (2004): 477–504.10.2307/4134443CrossRefGoogle Scholar
Long, Pamela O. Artisan / Practitioners and the Rise of the New Sciences, 1400–1600. Corvallis: Oregon State University Press, 2011.Google Scholar
Longhi, Roberto. “I ‘Cinque Sensi’ del Ribera.” Paragone 193 (1966): 74–78.Google Scholar
Maccherini, Michele. “Caravaggio nel carteggio familiare di Giulio Mancini.” Prospettiva 86 (1997): 71–92.Google Scholar
Maccherini, Michele. “Ritratto di Giulio Mancini.” In Bernini dal Borghese ai Barberini: La cultura a Roma intorno agli anni venti, ed. Bonfait, Olivier and Coliva, Anna, 47–57. Rome: De Luca, 2004.Google Scholar
Mancini, Giulio. Considerazioni sulla Pittura. Ed. Marucchi, Adriana. 2 vols. Rome: Accademia dei Lincei, 1956.Google Scholar
Mason, Peter. “El Catalejo de Ribera: Observaciones sobre La Vista de la primera serie de Los Cinco Sentidos.” Boletín del Museo del Prado 30.48 (2012): 50–61.Google Scholar
Mason, Peter. “Una Hornacina clásica para Magdalena Ventura: Sobre la ‘mujer barbuda’ de Ribera.” Goya 358 (2017): 46–55.Google Scholar
Milicua, José. “From Játiva to Naples.” In Jusepe de Ribera (1992), 9–18.Google Scholar
Milicua, José. “Los Cinco Sentidos.” In El Joven Ribera (2011), 142–47.Google Scholar
Nordenfalk, Carl. “The Five Senses in Flemish Art before 1600.” In Netherlandish Mannerism, ed. Cavalli-Björkmann, Görel, 135–54. Stockholm: Nationalmusei skriftserie, 1985.Google Scholar
Olmi, Giuseppe. “‘Coselline’ e ‘sovrane bellezze’: Note sul collezionismo nell'età di Galileo.” Galilaeana: Journal of Galilean Studies 4 (2007): 105–26.Google Scholar
Olmi, Giuseppe. “Galileo, le curiosità, e i ‘celesti spettacoli.’” In Il cannocchiale e il pennello (2009), 94–105.Google Scholar
Olson, Todd. Caravaggio's Pitiful Relics. New Haven, CT: Yale University Press, 2014.Google Scholar
Paleotti, Gabriele. Discourse on Sacred and Profane Images. Trans. McCuaig, William. Los Angeles, CA: Getty Research Institute, 2012.Google Scholar
Panofsky, Erwin. Galileo as a Critic of the Arts. The Hague: Martinus Nijhof, 1954.10.1007/978-94-017-6203-8CrossRefGoogle Scholar
Papi, Gianni. Ribera a Roma. Cremona: Soncino, 2007.Google Scholar
Papi, Gianni. “Ribera en Roma: La revelación del genio.” In El Joven Ribera (2011), 31–59.Google Scholar
Payne, Edward, and Bray, Xavier, eds. Ribera: Art of Violence. Dulwich: Dulwich Picture Gallery, 2018. Exhibition catalogue.Google Scholar
Pereda, Felipe. “Ribera's Peter and Paul: One, Maybe Two Notes on Blindness.” In Senses of Sight: Towards a Multisensorial Approach of the Image; Essays in Honor of Victor I. Stoichita, ed. Riedmatten, Henri de, Galley, Nicolas, Corpataux, Jean-François, and Nussbaum, Valentin, 227–43. Rome: “L'Erma” di Bretschneider, 2015.Google Scholar
Pereda, Felipe. Crimen e Ilusión: El arte de la verdad en el Siglo de Oro. Madrid: Marcial Pons, 2017.10.2307/j.ctvh4zfm1CrossRefGoogle Scholar
Piccolino, Marco. “I sensi, l'ambiguità, la conoscenza nell'opera di Galileo.” Galilaeana: Journal of Galilean Studies 4 (2007): 245–78.Google Scholar
Pierguidi, Stefano. “Giulio Mancini and the Birth of Connoisseurship.” Zeitschrift für Kunstgeschichte 79.1 (2016): 63–71.10.1515/ZKG-2016-0004CrossRefGoogle Scholar
Porzio, Giuseppe, and D'Alessandro, Domenico Antonio. “Ribera between Rome and Naples: New Documentary Evidence.” Burlington Magazine 157.1351 (2015): 682–83.Google Scholar
Puglisi, Catherine. “Talking Pictures: Sound in Caravaggio's Art.” In Caravaggio: Reflections and Refractions, ed. Pericolo, Lorenzo and Stone, David M., 105–21. Farnham: Ashgate, 2014.Google Scholar
Redondi, Pietro. Galileo: Heretic. Trans. Rosenthal, Raymond. Princeton, NJ: Princeton University Press, 1987.Google Scholar
Reeves, Eileen. Painting the Heavens: Art and Science in the Age of Galileo. Princeton, NJ: Princeton University Press, 1997.Google Scholar
Reeves, Eileen. Galileo's Glassworks: The Telescope and the Mirror. Cambridge, MA: Harvard University Press, 2008.10.4159/9780674042636CrossRefGoogle Scholar
Casanova, Ruiz, Francisco, José. “Tassis y Peralta, Juan de.” In Diccionario Biográfico electrónico. Madrid: Real Academia de la Historia, 2018. http://dbe.rah.es/biografias/8537/juan-de-tassis-y-peralta.Google Scholar
Sanger, Alice E., and Tore, Siv Walker, Kulbrandstad. “Introduction: Making Sense of the Senses.” In Sense and the Senses in Early Modern Art and Cultural Practice, ed. Sanger, Alice E. and Walker, Siv Tore Kulbrandstad, 1–18. Farnham: Ashgate, 2012.Google Scholar
Santo-Tomás, Enrique García. The Refracted Muse: Literature and Optics in Early Modern Spain. Trans. Barletta, Vincent. Chicago: University of Chicago Press, 2017.10.7208/chicago/9780226465876.001.0001CrossRefGoogle Scholar
Santucci, Paola. “La ‘dissimulazione onesta’ di Jusepe de Ribera: Prolegomena su arte e cultura nel Seicento napoletano.” Archivio Storico del Sannio 3.1–2 (1992): 5–89.Google Scholar
Sapir, Itay. “Blind Suffering: Ribera's Non-Visual Epistemology of Martyrdom.” Open Arts Journal 4 (2014–15): 29–39.Google Scholar
Schmitt, Charles B. Aristotle and the Renaissance. Cambridge, MA: Harvard University Press, 1983.10.4159/harvard.9780674432819CrossRefGoogle Scholar
Scholz-Hänsel, Michael. Jusepe de Ribera: 1591–1652. Cologne: Könemann, 2000.Google Scholar
Segni, Bernardo. I tre libri d'Aristotile sopra l'anima: Trattato di Bernardo Segni gentil'huomo, & accademico Fiorentino. Florence: Giunti, 1607.Google Scholar
Smith, Pamela. The Body of the Artisan: Art and Experience in the Scientific Revolution. Chicago: University of Chicago Press, 2004.10.7208/chicago/9780226764269.001.0001CrossRefGoogle Scholar
Snyder, Jon. Dissimulation and the Culture of Secrecy in Early Modern Europe. Berkeley: University of California Press, 2009.Google Scholar
Solinas, Francesco. “Osservazione della natura e ‘pittura filosofica’ nella Roma dei primi Lincei.” In Il cannocchiale e il pennello (2009), 225–40.Google Scholar
Sparti, Donatella Livia. “Novità su Giulio Mancini: Medicina, arte e presunta ‘connoisseurship.’” Mitteilungen des Kunsthistorischen Institutes in Florenz 52.1 (2008): 53–72.Google Scholar
Spear, Richard. “A Note on Caravaggio's Boy with a Vase of Roses.” Burlington Magazine 113.821 (1971): 470–73.Google Scholar
Spinosa, Nicola. Ribera: La obra completa. Madrid: Villar Mir, 2008.Google Scholar
Strunck, Christina. “Concettismo and the Aesthetics of Display: The Interior Decoration of Roman Palaces and Quadrerie.” In Display of Art (2014), 217–28.Google Scholar
Summers, David. The Judgment of Sense: Renaissance Naturalism and the Rise of Aesthetics. Cambridge: Cambridge University Press, 1987.Google Scholar
Tongiorgi Tomasi, Lucia. “La conquista del visibile: Rimeditando Panofsky, rileggendo Galilei.” Galilaeana: Journal of Galilean Studies 4 (2007): 5–47.Google Scholar
Tongiorgi Tomasi, Lucia. “Galileo, le arti, gli artisti.” In Il cannocchiale e il pennello (2009), 20–43.Google Scholar
Tosi, Alessandro. “Lune e astri Galileani.” In Il cannocchiale e il pennello (2009), 174–87.Google Scholar
Verdi, Richard. Poussin as a Painter: From Classicism to Abstraction. London: Reaktion Books, 2020.Google Scholar
Villari, Rosario. Elogio della dissimulazione: La lotta politica nel Seicento. Bari: Laterza, 1987.Google Scholar
Vodret, Rosella, and Strinati, Claudio. “Painted Music: ‘A New and Affecting Manner.’” In The Genius of Rome, 1592–1623, ed. Brown, Beverly Louise, 90–115. London: Royal Academy of Arts, 2001. Exhibition catalogue.Google Scholar
von Bernstorff, Marieke. Agent und Maler als Akteure im Kunstbetrieb des frühen 17. Jahrhunderts: Giovan Battista Crescenzi und Bartolomeo Cavarozzi. Munich: Hirmer Verlag, 2010.Google Scholar
von Schlosser, Julius. Die Kunstliteratur: Ein Handbuch zur Quellenkunde der neueren Kunstgeschichte. 1924. Reprint, Vienna: Kunstverlag Anton Schroll & Co., 1985.Google Scholar
Wade, Nicholas J. “Galileo and the Senses: Vision and the Art of Deception.” Galilaeana: Journal of Galilean Studies 4 (2007): 279–307.Google Scholar
Wilding, Nick. Galileo's Idol: Gianfrancesco Sagredo and the Politics of Knowledge. Chicago: University of Chicago Press, 2014.10.7208/chicago/9780226167022.001.0001CrossRefGoogle Scholar
Zagorin, Perez. Ways of Lying: Dissimulation, Persecution, and Conformity in Early Modern Europe. Cambridge, MA: Harvard University Press, 1990.10.4159/harvard.9780674866379CrossRefGoogle Scholar