COMMENTARIES ON THE DRAWINGS

Note on the Organization of the Entries

The entries follow the numerical sequence employed at the Gabinetto dei Disegni e Stampe at the Uffizi, Florence. Each drawing is identified by its Uffizi number, which is followed by an indication of the subject collection it comes from. The drawings by Antonio da Sangallo the Younger and his circle, are all from the architectural collection (“Architettura”) and are thus identified by the letter A. We have used the designation “U” (for Uffizi) only for the first drawing in a sequence or a drawing referred to separately.

While every effort has been made to regularize the forms of transcription used by the authors, some variations are inevitable. The designation “recto and verso” is used in the heading when we have reproduced both recto and verso, having judged that both faces of the sheet merit reproduction. In cases where only a brief text is found on the verso, scholars have been asked to transcribe the text but a reproduction of that face is not provided. In this case, a sheet is referred to as “recto” only. Numbers or other mathematical inscriptions have not been transcribed unless judged of special relevance.

The division of the sequence of drawings by subject, both for the purposes of the entries and for the format of the volumes, is a result of the vast size of this undertaking. In some instances, drawings that contain annotations related n A Nicholas Adams eb Enzo Bentivoglio rb Rita Bertucci ic Ian Campbell

Acf Anna Cerutti-Fusco hc D Hans Christoph Dittscheid se Sabine Eiche fzb Fabiono T. Fagliari Zeni Buchicchio clf Christoph Luitpold Frommel

Agg Adriano Ghisetti Giavarina

Ach Ann C. Huppert cj Christoph Jobst f - ek Fritz-Eugen Keller † to subjects ostensibly covered in this volume have had to be reserved for another volume. References to other volumes are indicated by “vol.” and the number of the volume in Roman numerals. By and large, we have tried to follow the principle that the main subject of the sheet determines its location within the corpus. Despite our best intentions this principle of order has not always been respected. bk Bernd Kulawik mk Margaret Kunz ml Maria Losito ml u Manfred Luchterhandt gm a Golo Maurer jn Jens Niebaum

The first lines of each entry give the author, subject, and approximate date of the sheet. Next follows a summary of specifications. Dimensions (height and width) are expressed in millimeters, measured from the bottom left corner ; irregularly cut sheets are described as such. References to “white paper” are assumed, since it was the standard medium used by the Sangallo workshop. Restorations to the sheet may be noted.

In the inscriptions, brackets around three dots indicate an illegible word or phrase. A slash (/) is used to mark a new line. Semicolons indicate discrete words or groups of words.

The authors are identified by their initials at the end of each entry. Authorship divided by a comma (,) indicates that the entries have been combined by the editors.

As the texts written by different authors were written at different times and have different profoundness, they and the bibliography have been updated to varying degrees for the preparation of the publication.

P n P Pier Nicola Pagliara s P Simon Pepper hr Hannes Roser gs Giustina Scaglia † ms Maximilian Schich vz Vitale Zanchettin