- Introduction
- Illustrations
- Sacred Painting
- Book I
- 1. The Subject and Arrangement of the Book
- 2. Decorum
- 3. The Errors of the Ancient Pagans
- 4. Historical Falsehoods
- 5. Pagan Myths
- 6. Nudity
- 7. Clothing
- 8. Age
- 9. The Compositional Field of the Painting
- 10. How Difficult It Is to Express the Emotions
- 11. Piety, Above All Else, Is Necessary for the Painter
- 12. Athletic Figures
- 13. Lascivious Figures
- Book II
- 1. The Appearance of the Most Holy Trinity
- 2. The Portrayal of the Savior
- 3. Representations of the Crucifixion
- 4. The Mysteries of the Savior
- 5. The Appearance of the Most Blessed Virgin
- 6. Images of Angels
- 7. Sacred Symbols
- 8. Images Copied from Life
- 9. Portraits of St. Gregory the Great and Charlemagne
- 10. In Which Various Knotty Problems Concerning Portraits of the Saints Are Solved
- 11. The Clothing and Attributes of the Saints
- 12. The Various Uses of Images by Christians
- 13. The Ancient Forms of Sacred Buildings
- Book I
- Museum
- Introduction: the importance of written documentation; Pliny as a model; organization of the book, following the arrangement of the Museum
- Titian, Adoration of the Magi; Titian’s technique; skills artists need: colorito and disegno; landscapes and human figures; Deposition; Holy Family with Tobias; Virgin and Child with St. Catherine
- Jacopo Bassano the Elder, Annunciation, Rest on the Flight to Egypt
- Copies: the usefulness of copies; guidelines for copying
- Copies of Raphael: Isaiah, Sibyls; Luini the Elder’s Sibyls; Carracci’s copy of Correggio’s Mother of God and Gypsy
- Miniatures: six miniature paintings in a silver frame, by Clovio, Luini, Jan Brueghel
- Brueghel’s skills as a miniaturist; his Daniel in the Lions’ Den; The Four Elements described; Madonna and Child in a Garland
- Other miniatures: Luini, Marchesino, Decio; a crystal Triumph of David; Brueghel’s miniature of a mouse
- Other paintings, including a portrait by Michelangelo
- Next room: larger paintings; Luini the Elder’s The Holy Family, executed with Leonardo; the practice of artists sharing credit
- Landscape by Titian; seascape by Bril; Noli me tangere by Luini; Mother of God by Giampietrino; Titian’s Penitent Magdalene
- More on Brueghel: twelve small works by Brueghel; Rottenhammer’s Winter Landscape, with flowers by Brueghel; comparison of Titian’s and Luini’s Penitent Magdalene
- Comparison of Brueghel’s two flower paintings; Luini copies
- Leonardo’s Last Supper: attempts at conservation; Vespino’s copy; discussion of the portrayal of the personalities
- Further paintings: Mariani’s Magdalene, modeled on a Raphael; copy of Raphael’s Hercules; copies by Mariani of Gaudenzio paintings; Titian’s Old Man in Armor, of his father
- Portraits, including copies of Raphael by Mariani; Caravaggio’s Basket of Fruit; other masterpieces, and a miniature study of a head by Marchesini
- Why ignorance of art is inappropriate for an ecclesiastic; an anecdote about visitors to Rome
- Sculpture: the usefulness of casts and copies; Aretino’s excellent work
- Regret for the loss of Michelangelo’s drawings; his relationship with students
- Copies of Apollo Belvedere, Antinous, and others; Raphael’s cartoon for The School of Athens; Prestinari
- The colossal statue of Carlo Borromeo in Arona
- Third part of the treatise: a list of portraits made from life
- Appendix: Rules of the Accademia del Disegno
- Note on the Texts and Translation
- Notes to the Texts
- Notes to the Translation
- Bibliography
- Index
THE I TATTI RENAISSANCE LIBRARY
The I Tatti Renaissance Library 44
Sacred Painting. Museum
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$29.95 • £19.95 • €21.00
ISBN 9780674047587
Publication: June 2010
