Hostname: page-component-78c5997874-8bhkd Total loading time: 0 Render date: 2024-11-17T18:14:55.880Z Has data issue: false hasContentIssue false
  • English
  • Français

Raphael's Rainbow and the Vision of Saint Catherine

Published online by Cambridge University Press:  07 March 2019

Tracy Cosgriff
Tracy Cosgriff*
Affiliation:
The College of Wooster
Get access Rights & Permissions [Opens in a new window]

Abstract

Painted in 1508, Raphael's “Saint Catherine of Alexandria” is animated by innovative pictorial techniques using light, shadow, and color. Yet scholars have scarcely discussed its dazzling palette or sought to explain the image's meaning. I argue that Raphael's “Saint Catherine” exemplifies the artist's thematic interpretation of divine revelation in optical terms. Aristotelian theories of vision illuminate new dimensions of Raphael's engagement with scientific and theological sight. From this examination, new criteria for identifying the painting's patron emerge. By reframing the “Saint Catherine” within the rubric of contemporary optics, color's role as an allegory for Raphael's subject comes increasingly to light.

Type
Articles
Information
Renaissance Quarterly , Volume 72 , Issue 1 , Spring 2019 , pp. 97 - 147
Copyright
Copyright © Renaissance Society of America 2019 

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

Research was funded by Hamilton College and The College of Wooster. I extend my gratitude to R. Benjamin Gorham, Margaret Bell, Emily Fenichel, Paul Gwynne, and Sara Nair James for their suggestions and comments. I am especially grateful to Paul Barolsky for his wisdom, insight, and good humor. Above all, thanks are due to David Summers, in whose seminar on light this paper was first born, and who offered continued inspiration, encouragement, and feedback. Unless otherwise noted, translations are my own.

References

BIBLIOGRAPHY

Alberti, Leon Battista. On Painting. Trans. Grayson, Cecil. London: Penguin, 2004.Google Scholar
Ambrose. Expositio evangelii secundum Lucan. Vol. 4 of Opera. Ed. Schenkl, Henricus. Vienna: Tempsky, 1902.Google Scholar
Aquinas, Thomas. Summa theologica. 9 vols. Paris: Ludovicus Vives, 1856.Google Scholar
Aquinas, Thomas. Opera omnia. Ed. Busa, Roberto, SJ. 7 vols. Stuttgart: Frommann-Holzboog, 1980.Google Scholar
Arasse, Daniel. “Extases et visione béatifiques à l'apogée de la Renaissance: Quatre images de Raphaël.” Mélanges de l’École française de Rome: Moyen Âge, temps modernes 84.2 (1972): 403–92.Google Scholar
Arasse, Daniel. Les visions de Raphaël. Paris: Liana Levi, 2003.Google Scholar
Aristotle. Meteorologica. Ed. and trans. Lee, H. D. P.. Cambridge, MA: Harvard University Press, 1952.Google Scholar
Aristotle. De sensu et sensibilibus. In On the Soul. Parva Naturalia. On the Breath, ed. and trans. Hett, W. S., 214–84. Cambridge, MA: Harvard University Press, 1957.Google Scholar
Augustine. The City of God: Books VIII–XVI. Trans. Walsh, Gerald G., SJ, and Monahan, Grace, OSU. 7 vols. Washington, DC: Catholic University of America Press, 1952.Google Scholar
Baldini, Umberto. Santa Maria Novella: La basilica, il convento, i chiostri monumentali. Florence: Nardini Editore, 1981.Google Scholar
Banfi, Luigi. “Una nuova leggenda versificata di Santa Caterina d'Alessandria.” Studi di lingua e letteratura lombarda offerti a Maurizio Vitale 1 (1983): 45–78.Google Scholar
Barolsky, Paul. “The Visionary Experience of Renaissance Art.” Word and Image 11.2 (1995): 174–81.Google Scholar
Barolsky, Paul. “Naturalism and the Visionary Art of the Early Renaissance.” Gazette des beaux-arts 129.6 (1997): 57–64.Google Scholar
Barolsky, Paul. “The Elusive Raphael.” In Late Raphael, ed. Falomir, Miguel, 8–13. Madrid: Museo Nacional del Prado, 2013.Google Scholar
Batistini, Giovanni. “Raphael's Portrait of Fedra Inghirami.” Burlington Magazine 138.1121 (1996): 541–45.Google Scholar
Beck, James. “Raphael's ‘Madonna of the Pinks’: A Connoisseurship Challenge.” Source 24.2 (2005): 50–59.Google Scholar
Beck, James. From Duccio to Raphael: Connoisseurship in Crisis. Florence: European Press Academic Publishing, 2006.Google Scholar
Behling, Lottlisa. Die Pflanze in der mittelalterlichen Tafelmalerei. Weimar: Böhlau, 1957.Google Scholar
Bell, Janis C. A. “Color Perspective, ca. 1492.” Achademia Leonardo Vinci 5 (1992): 64–77.Google Scholar
Bell, Janis C. A. “Aristotle as a Source for Leonardo's Theory of Colour Perspective after 1500.” Journal of the Warburg and Courtauld Institutes 56 (1993): 100–18.Google Scholar
Boyarin, Daniel. “Origen as Theorist of Allegory: Alexandrian Contexts.” In The Cambridge Companion to Allegory, ed. Copeland, Rita and Struck, Peter T., 39–54. Cambridge: Cambridge University Press, 2010.Google Scholar
Boyer, Carl B. The Rainbow: From Myth to Mathematics. Princeton, NJ: Princeton University Press, 1987.Google Scholar
Brendel, Otto. “Origin and Meaning of the Mandorla.” Gazette des Beaux-Arts 25.6 (1944): 5–24.Google Scholar
Bronzini, Giovanni B. “La leggenda di S. Caterina d'Alessandria: Passioni greche e latine.” Atti della Accademia Nazionale dei Lincei 9 (1960): 257–416.Google Scholar
Brown, J. Wood. The Dominican Church of Santa Maria Novella at Florence: A Historical, Architectural and Artistic Study. Edinburgh: O. Schulze, 1902.Google Scholar
Burke, Jill. Changing Patrons: Social Identity and the Visual Arts in Renaissance Florence. University Park: Pennsylvania State University Press, 2004.Google Scholar
Cannon, Joanna. “Simone Martini, the Dominicans, and the Early Sienese Polyptych.” Journal of the Warburg and Courtauld Institutes 45 (1982): 69–93.Google Scholar
Carman, Charles, and Hendrix, John, eds. Renaissance Theories of Vision. Farnham: Ashgate, 2010.Google Scholar
Caron, Linda. “Choices Concerning Modes of Modeling during the High Renaissance and After.” Zeitschrift für Kunstgeschichte 48.4 (1985): 476–89.Google Scholar
Chapman, Hugo, Henry, Tom, and Plazzotta, Carol. Raphael: From Urbino to Rome. New Haven, CT: Yale University Press, 2004.Google Scholar
Cochrane, Erica. Historians and Historiography in the Italian Renaissance. Chicago: University of Chicago Press, 1981.Google Scholar
Color and Technique in Renaissance Painting: Italy and the North. Ed. Hall, Marcia B.. Locust Valley, NY: J. J. Augustin, 1987.Google Scholar
Corbari, Eliana. “‘Et Sono Molto Meglio Le Femine Che Gli Omini’: Giordano da Pisa Preaching on Catherine of Alexandria.” Medieval Sermon Studies 51.1 (2007): 9–21.Google Scholar
Coursault, René. Sainte Catherine d'Alexandrie: Le mythe et la tradition. Paris: Éditions Maisonneuve et Larose, 1984.Google Scholar
Dante, Alighieri. The Divine Comedy: Purgatorio. Trans. Mandelbaum, Allen. Berkeley: University of California Press, 1982.Google Scholar
Dante, Alighieri. The Divine Comedy: Paradiso. Trans. Mandelbaum, Allen. Berkeley: University of California Press, 1984.Google Scholar
Dawson, David. Christian Figural Reading and the Fashioning of Identity. Berkeley: University of California Press, 2001.Google Scholar
de Bustis, Bernardinus. Mariale de singulis festivitatibus beate virginis per modum sermonum tractans. Anthonius Koberger, 1503.Google Scholar
de Tervarent, Guy. Attributs et symboles dans l'art profane, 1450–1600. Geneva: Droz, 1997.Google Scholar
Didi-Huberman, Georges. Fra Angelico: Dissemblance and Figuration. Chicago: University of Chicago Press, 1995.Google Scholar
Ficino, Marsilio. Commentary on Plato's Symposium on Love. Ed and trans. Jayne, Sears. Dallas, TX: Spring Publications, 1985.Google Scholar
Ficino, Marsilio. Platonic Theology. Trans. Allen, Michael J. B. with Warden, John; Latin, ed. Hankins, James with Bowen, William. 6 vols. Cambridge, MA: Harvard University Press, 2001–06.Google Scholar
Fischel, Oskar. Raphael. Berlin: Mann, 1962.Google Scholar
Frazier, Alison. “Katherine's Place in the Renaissance Collection: Evidence from Antonio degli Agli (ca. 1400–1477), De vitis et gestis sanctorum.” In St. Katherine of Alexandria: Texts and Contexts in Western Medieval Europe, ed. Jenkins, Jacqueline and Lewis, Katherine J., 221–40. Turnhout: Brepols, 2003.Google Scholar
Frazier, Alison. Possible Lives: Authors and Saints in Renaissance Italy. New York: Columbia University Press, 2005.Google Scholar
Gabbay, Dov M., and Woods, John, eds. Handbook of the History of Logic: Medieval and Renaissance Logic. 2 vols. Amsterdam: North Holland, 2008.Google Scholar
Gage, John. “A Locus Classicus of Colour Theory: The Fortune of Apelles.” Journal of the Warburg and Courtauld Institutes 44 (1981): 1–26.Google Scholar
Gage, John. Color and Culture: Practice and Meaning from Antiquity to Abstraction. Boston: Little, Brown, and Company, 1993.Google Scholar
Gilbert, Felix. “Bernardo Rucellai and the Orti Oricellari: A Study on the Origin of Modern Political Thought.” Journal of the Warburg and Courtauld Institutes 12 (1949): 101–31.Google Scholar
Gill, Meredith. Augustine in the Italian Renaissance: Art and Philosophy from Petrarch to Michelangelo. Cambridge: Cambridge University Press, 2005.Google Scholar
Goffen, Rona. Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian. New Haven, CT: Yale University Press, 2002.Google Scholar
Gould, Cecil. National Gallery Catalogue: The Sixteenth-Century Italian Schools. London: National Gallery, 1975.Google Scholar
Hall, Marcia B. “From Modeling Techniques to Color Modes.” In Color and Technique in Renaissance Painting (1987), 1–30.Google Scholar
Hall, Marcia B. Color and Meaning: Practice and Theory in Renaissance Painting. Cambridge: Cambridge University Press, 1992.Google Scholar
Henning, Andreas. “Der himmelnde Blick”: Zur Geschichte eines Bildmotivs von Raffael bis Rotari. Emsdetten: Imorde, 1998.Google Scholar
Hilka, Alfons. “Zur Katharinenlegende: Die Quelle der Jugendgeschichte Katharinas, insbesondere in der mittelnierderländischen Dichtung und in der mittelniederländischen Prosa.” Archiv für das Studium der neueren Sprachen und Literaturen 140.74 (1920): 171–84.Google Scholar
Hilka, Alfons. “Eine italienische Version der Katharinenlegende.” Zeitschrift für romanische Philologie 44 (1924): 151–80.Google Scholar
Hub, Berthold. “Material Gazes and Flying Images in Marsilio Ficino and Michelangelo.” In Spirits Unseen: The Representation of Subtle Bodies in Early Modern European Culture, ed. Göttler, Christine and Neuber, Wolfgang, 93–120. Leiden: Brill, 2008.Google Scholar
Irenaeus. Against the Heresies. Vol. 1 of The Ante-Nicene Fathers. Ed. and trans. Roberts, Alexander and Rambaut, W. H.. New York: Scribner, 1903.Google Scholar
Isidore of Seville. De natura rerum. Ed. Becker, Gustave. Amsterdam: Heckert, 1967.Google Scholar
Isidore of Seville. The Etymologies of Isidore of Seville. Ed. and trans. Barney, Stephen A., Lewis, W. J., Beach, J. A., et al. Cambridge: Cambridge University Press, 2006.Google Scholar
Jacobus de Voragine. Legenda aurea sanctorum. Basel: Michael Wenssler, 1490.Google Scholar
Jacobus de Voragine. Legenda aurea: Vulgo historia Lombardica dicta. Ed. Theodor Graesse, Johann Georg. Osnabrück: Zeller, 1969.Google Scholar
Jacobus de Voragine. The Golden Legend: Readings on the Saints. Trans. Ryan, William Granger. 2 vols. Princeton, NJ: Princeton University Press, 1995.Google Scholar
Jenkins, Jacqueline, and Lewis, Katherine J.. St. Katherine of Alexandria: Texts and Contexts in Western Medieval Europe. Turnhout: Brepols, 2003.Google Scholar
Jerome, . Commentary on Ezekiel. Trans. Schenk, Thomas P.. New York: Newman Press, 2017.Google Scholar
Joannides, Paul. The Drawings of Raphael with a Complete Catalogue. Berkeley: University of California Press, 1983.Google Scholar
Jolly, Penny Howell. “Antonello da Messina's Saint Jerome in His Study: An Iconographic Analysis.” Art Bulletin 65.2 (1983): 238–53.Google Scholar
Jones, Roger, and Penny, Nicholas. Raphael. New Haven, CT: Yale University Press, 1983.Google Scholar
Kaplan, Stacey. “Marriage, Motherhood, and Saint Catherine of Alexandria: Painting Domestic Values in the Veneto.” PhD diss., Cornell University, 2003.Google Scholar
Kemp, Martin. The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat. New Haven, CT: Yale University Press, 1990.Google Scholar
Kemp, Martin. “In the Light of Dante: Meditations on Natural and Divine Light in Piero della Francesca, Raphael, and Michelangelo.” In Ars naturam adiuvans: Festschrift für Matthias Winner, ed. Flemming, Victoria von and Schütze, Sebastian, 160–77. Mainz am Rhein: P. von Zabern, 1996.Google Scholar
Kent, Francis William. “The Letters Genuine and Spurious of Giovanni Rucellai.” Journal of the Warburg and Courtauld Institutes 37 (1974): 342–49.Google Scholar
Kent, Francis William. “The Making of a Renaissance Patron of the Arts.” In Giovanni Rucellai ed il suo Zibaldone. Vol. 2, A Florentine Patron and His Palace: Studies, ed. Nicolai Rubenstein, 9–95. London: Warburg Institute, 1981.Google Scholar
Keßler, Eckhard. “Metaphysics or Empirical Science? The Two Faces of Aristotelian Natural Philosophy in the Sixteenth Century.” In Renaissance Readings of Corpus Aristotelicum, ed. Pade, Marianne, 79–101. Copenhagen: Museum Tusculanum Press, 2001.Google Scholar
Kleinbub, Christian. “Raphael's Transfiguration as Visio-Devotional Program.” Art Bulletin 90.3 (2008): 367–93.Google Scholar
Kleinbub, Christian. “At the Boundaries of Sight: The Italian Renaissance Cloud Putto.” In Renaissance Theories of Vision, ed. Carman, Charles and Hendrix, John, 117–33. Farnham: Ashgate, 2010.Google Scholar
Kleinbub, Christian. Vision and the Visionary in Raphael. University Park: Pennsylvania State University Press, 2011.Google Scholar
Kodera, Sergius. “Narcissus, Divine Gazes, and Bloody Mirrors: The Concept of Matter in Ficino.” In Marsilio Ficino: His Theology, His Philosophy, His Legacy, ed. Allen, Michael J. B., Rees, Valery, and Davies, Martin, 285–306. Leiden: Brill, 2002.Google Scholar
Kristeller, Paul Oskar. Renaissance Thought and Its Sources. Ed. Mooney, Michael. New York: Columbia University Press, 1979.Google Scholar
Krüger, Klaus. Das Bild als Schleier des Unsichtbaren: Ästhetische Illusion in der Kunst der frühen Neuzeit in Italien. Munich: Fink, 2001.Google Scholar
LeeRaymond L., Jr. Raymond L., Jr., and Fraser, Alistair B.. The Rainbow Bridge: Rainbows in Art, Myth, and Science. University Park: Pennsylvania State University Press, 2001.Google Scholar
Levey, Michael. Florence: A Portrait. London: Jonathan Cape, 1996.Google Scholar
Levi d'Ancona, Mirella. The Garden of the Renaissance: Botanical Symbolism in Italian Painting. Florence: Olschki, 1977.Google Scholar
Lewis, Katherine J. The Cult of St. Katherine of Alexandria in Late Medieval England. Woodbridge: Boydell Press, 2000.Google Scholar
Lewis, Katherine J. “Catherine of Alexandria.” In Women and Gender in Medieval Europe: An Encyclopedia, ed. Schaus, Margaret, 115–16. New York: Routledge, 2006.Google Scholar
Librandi, Rita. La Metaura d'Aristotile: Volgarizzamento fiorentino anonimo del XIV secolo. Napoli: Liguori Editore, 1995.Google Scholar
Lindberg, David C. The Beginnings of Western Science: The European Scientific Tradition in Philosophical, Religious, and Institutional Context, Prehistory to A.D. 1450. Cambridge: International Society for Science and Religion, 2008.Google Scholar
Lindberg, David C., and Tachau, Katherine H.. “The Science of Light and Color, Seeing and Knowing.” In The Cambridge History of Science, ed. Lindberg, David C. and Shank, Michael H., 2:485–511. Cambridge: Cambridge University Press, 2013.Google Scholar
Lomazzo, Gian Paolo. Trattato dell'Arte de la Pittura. Milan, 1583.Google Scholar
Manilli, Jacopo. Villa Borghese fuori di Porta Pinciana. Rome: Ludovico Grignani, 1650.Google Scholar
Martin, Craig. “Scientific Terminology and the Effects of Humanism: Renaissance Translations of Meteorologica IV and the Commentary Tradition.” In Science Translated: Latin and Vernacular Traditions of Scientific Treatises in Medieval Europe, ed. Goyens, Michéle, Leemans, Pieter De, and Smets, An, 155–80. Leuven: Leuven University Press, 2008.Google Scholar
Martin, Craig. Renaissance Meteorology: Pomponazzi to Descartes. Baltimore, MD: Johns Hopkins University Press, 2011.Google Scholar
Meiss, Millard. “Light as Form and Symbol in Some Fifteenth-Century Paintings.” Art Bulletin 27.3 (1945): 175–81.Google Scholar
Meiss, Millard. Painting in Florence and Siena after the Black Death: The Arts, Religion, and Society in the Mid-Fourteenth Century. Princeton, NJ: Princeton University Press, 1978.Google Scholar
Meyer zur Capellen, Jürg. Raphael in Florence. London: Azimuth Editions, 1996.Google Scholar
Meyer zur Capellen, Jürg. Raphael: A Critical Catalogue of His Paintings. Vol. 1, The Beginnings in Umbria and Florence, ca. 1500–1508. Landshut: Arcos, 2001.Google Scholar
Molho, Anthony, and Barducci, Roberto. “Genealogy and Marriage Alliance: Memories of Power in Late Medieval Florence.” In Portraits of Medieval and Renaissance Living: Essays in Memory of David Herlihy, ed. Cohn, Samuel K. Jr. and Epstein, Steven A., 39–70. Ann Arbor: University of Michigan Press, 1996.Google Scholar
Moranti, Maria, and Luigi, Moranti. Il trasferimento dei “Codices Urbinates” alla Biblioteca Vaticana: Cronistoria, documenti, e inventario. Urbino: Accademia Raffaello, 1981.Google Scholar
Newton, H. A. “The Fireball in Raphael's Madonna di Foligno.” Publications of the Astronomical Society of the Pacific 3.15 (1891): 91–95.Google Scholar
Oberhuber, Konrad. Raffaello: L'Opera pittorica. Milan: Electa, 1999.Google Scholar
Pade, Marianne, ed. Renaissance Readings of the Corpus Aristotelicum. Copenhagen: Museum Tusculanum Press, 2001.Google Scholar
Pagnotta, Laura. Giuliano Bugiardini. Turin: U. Allemandi, 1987.Google Scholar
Parkhurst, Charles. “Leon Battista Alberti's Place in the History of Color Theories.” In Color and Technique in Renaissance Painting (1987), 161–204.Google Scholar
Passerini, Luigi. Genealogia e storia della famiglia Rucellai. Florence: Tipi di M. Cellini, 1861.Google Scholar
Pedretti, Carlo. Leonardo: A Study in Chronology and Style. London: Thames and Hudson, 1973.Google Scholar
Pellegrini, Guglielmo. L'umanista Bernardo Rucellai e le sue opere storiche. Livorno: R. Giusti, 1920.Google Scholar
Penny, Nicholas. “Raphael's ‘Madonna dei garofani’ Rediscovered.” Burlington Magazine 124.1067 (1992): 67–81.Google Scholar
Plato. Phaedrus. In Euthyphro. Apology. Crito. Phaedo. Phaedrus, ed. and trans. Fowler, Harold North, 412–579. Cambridge, MA: Harvard University Press, 1990.Google Scholar
Plato. Republic. Ed. and trans. Emlyn-Jones, Chris and Preddy, William. Cambridge, MA: Harvard University Press, 2013.Google Scholar
Quatremère de Quincy, Antoine. Histoire de la vie et des ouvrages de Raphaël. Paris: Ad. le Clere et Cie., 1833.Google Scholar
Reames, Sherry L. The “Legenda Aurea”: A Reexamination of Its Paradoxical History. Madison: University of Wisconsin Press, 1985.Google Scholar
Rowland, Ingrid. The Culture of the High Renaissance: Ancients and Moderns in Sixteenth-Century Rome. Cambridge: Cambridge University Press, 1998.Google Scholar
Roy, Ashok, Spring, Marika, and Plazzotta, Carol. “Raphael's Early Work in the National Gallery: Paintings before Rome.” National Gallery Technical Bulletin 25 (2004).Google Scholar
Ruda, Jeffrey. “Color and Spatial Structure in Paintings by Filippo Lippi.” In Color and Technique in Renaissance Painting (1987), 41–54.Google Scholar
Sands, Tracey R. The Company She Keeps: The Medieval Swedish Cult of Katherine of Alexandria and Its Transformations. Tempe: Arizona Center for Medieval and Renaissance Studies, 2010.Google Scholar
Schmidt, Victor M. “Painting and Individual Devotion in Late Medieval Italy: The Case of Saint Catherine of Alexandria.” In Visions of Holiness: Art and Devotion in Renaissance Italy, ed. Ladis, Andrew and Zuraw, Shelley E., 21–36. Athens: University of Georgia Press, 2001.Google Scholar
Schröter, Elizabeth. “Raffaels Madonna di Foligno. Ein Pestbild?” Zeitschrift für Kunstgeschichte 50.1 (1987): 46–87.Google Scholar
Shearman, John. “Leonardo's Colour and Chiaroscuro.” Zeitschrift für Kunstgeschichte 25.1 (1962): 13–47.Google Scholar
Shearman, John. “Raphael's Clouds, and Correggio's.” In Studi su Raffaello: Atti del Congresso internazionale di studi, ed. Hamoud, Micaela and Strocchi, Maria, 657–68. Urbino: Quattro Venti, 1987.Google Scholar
Simon, Anne. The Cult of Saint Katherine of Alexandria in Late-Medieval Nuremberg: Saint and the City. Farnham: Ashgate, 2012.Google Scholar
Smith, A. Mark. Ptolemy and the Foundations of Ancient Mathematical Optics: A Guided Study. Philadelphia: American Philosophical Society, 1999.Google Scholar
Smith, A. Mark. From Sight to Light: The Passage from Ancient to Modern Optics. Chicago: University of Chicago Press, 2014.Google Scholar
Stechow, Wolfgang. “Marco del Buono and Apollonio di Giovanni, Cassone Painters.” Allen Memorial Art Museum Bulletin 1 (1944): 5–21.Google Scholar
Stoichita, Victor I. Visionary Experience in the Golden Age of Spanish Art. London: Reaktion Books, 1995.Google Scholar
Stollhans, Cynthia. St. Catherine of Alexandria in Renaissance Roman Art: Case Studies in Patronage. Farnham: Ashgate, 2014.Google Scholar
Strauss, Ernst. Koloritgeschichtliche Untersuchungen zur Malerei seit Giotto und andere Studien. Munich: Deutscher Kunstverlag, 1983.Google Scholar
Summers, David. “Maniera and Movement: The Figura Serpentinata.” Art Quarterly 35 (1972): 269–301.Google Scholar
Summers, David. The Judgment of Sense: Renaissance Naturalism and the Rise of Aesthetics. Cambridge: Cambridge University Press, 1987.Google Scholar
Tarr, Roger. “Giovanni Rucellai's Comments on Art and Architecture.” Italian Studies 51 (1996): 58–95.Google Scholar
Tavernor, Robert. On Alberti and the Art of Building. New Haven, CT: Yale University Press, 1998.Google Scholar
Vasari, Giorgio. Le vite de’ più eccellenti pittori, scultori e architettori, nelle redazioni del 1550 e 1568. Ed. Bettarini, Rosanna and Barocchi, Paola. 6 vols. Florence: Sansoni, 1966–76.Google Scholar
Venerable Bede. Opera Omnia. Vol. 93 of Patrologia Latina. Ed. Jacques-Paul Migne. Paris, 1862.Google Scholar
Verdon, Timothy. Santa Maria Novella. Florence: Centro di Arcidiocesi di Firenze, 2003.Google Scholar
Virgil. Eclogues, Georgics, Aeneid 1–6. Ed. and trans. Goold, G. P. and Rushton Fairclough, H.. Cambridge, MA: Harvard University Press, 1999.Google Scholar
Wackernagel, Martin. The World of the Florentine Renaissance Artist: Projects and Patrons, Workshop and Art Market. Princeton, NJ: Princeton University Press, 1981.Google Scholar
Wagner, Christoph. Farbe und Metapher: Die Entstehung einer neuzeitlichen Bildmetaphorik in der vorrömischen Malerei Raphaels. Berlin: Gebr. Mann, 1999.Google Scholar
Walsh, Katherine. The Cult of Saint Katherine of Alexandria in Early Medieval Europe. Farnham: Ashgate, 2007.Google Scholar
Weil-Garris Brandt, Kathleen. Leonardo and Central Italian Art. New York: New York University Press for the College Art Association, 1974.Google Scholar
Woods-Marsden, Joanna. “One Artist, Two Sitters, One Role: Raphael's Papal Portraits.” In The Cambridge Companion to Raphael, ed. Hall, Marcia B., 120–40. Cambridge: Cambridge University Press, 2005.Google Scholar