Fading Beauty by Luis R

PALAZZO DEL PRINCIPE

FADING BEAUTY

PERINO DEL VAGA

PALAZZO DEL PRINCIPE

FADING BEAUTY

EDITOR ZADRIAN SMITH DESIGNER LUIS REY RAMIREZ

PALAZZO DEL PRINCIPE

THIS JOURNAL IS DEDICATED TO THE MEMORY OF THE MANY GREAT ARTISTS OF THE ITALIAN RENAISSANCE WHOSE WORKS CONTINUE TO INSPIRE TODAY.

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PALAZZO DEL PRINCIPE

EDITOR’S LETTER The Palazzo del Principe is one of the most complete Italian palaces from the first half of the 16th century. Executed by some of the prominent court artists of the period, the frescoes, tapestries, stucco decorations, furniture and decorative ornaments embody the grandeur of the High Renaissance, Mannerist and Baroque styles. Although the palace was never recognised by the Republic of Genoa as an official Royal Palace, its impact on the political and cultural structure of Genoese society cannot be discounted. The Palazzo’s original function was as the residence for Prince Andrea Doria and his wife Peretta Usodimare. However, Prince Andrea’s role as an Admiral to King Charles V of Spain and “Pater Patriae” to Genoa also made the Palazzo a centre for politics. Despite the Palazzo’s detachment from the city centre, this did not impact the power Prince Doria was able to assert concerning political affairs in Genoa. The Palazzo’s proximity to the Ligurian Sea made it a receiving port for ambassadors and nobles who were visiting the Ducal Palace, and whilst hosting King Charles V in 1533, Prince Doria was able to secure Genoa’s independence from Spain making the city an ally.

Prince Doria compared himself to many of the great warriors of Roman history, which became the subject of many of the frescoes seen throughout the Palazzo. His desire to emulate and rejuvenate the Romanesque style in the Palazzo required an artist familiar not only with ancient works of Roman art, but also with the skill of decorating Roman palaces. It comes as no surprise that he selected Perino del Vaga, an artist from Raphael’s workshop who had assisted on some of his Vatican and palace commissions, to decorate what became the first Roman style palazzo in Liguria. Although several artists contributed to the original decoration of the palace and its restoration, Perino imbued the Palazzo with the identity of a noble Renaissance court that has remained unique in Genoa’s history. The works of art situated within the Palazzo and on the walls and vaults reconstruct the story of Prince Doria and his lineage. Even though the beauty of many of the original works have faded over time or been obliterated from the raid in 1944, it’s the traces that remain, which continue to denote the maturation of Perino’s career and confirm his excellence as an artist. Welcome to the Palazzo del Principe.

Zadrian Smith

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CONTENTS 5 EDITOR’S LETTER 9 THE ARTIST: PERINO DEL VAGA 11 PERINO’S CLOCK 13 THE PATRON: PRINCE ANDREA DORIA 15 PALAZZO DEL PRINCIPE:THE FAÇADE 23 PALAZZO DEL PRINCIPE: SALA DEI TRIONFI 39 COPYCAT: RAPHAEL’S INFLUENCE ON PERINO 43 PALAZZO DEL PRINCIPE: LOGGIA DEGLI EROI 57 PALAZZO DEL PRINCIPE: SALA DEI GIGANTI 63 PALAZZO DEL PRINCIPE: SALA DEL NAUFRAGIO 67 PALAZZO DEL PRINCIPE: PIANO NOBILE 71 PERINO THE DECORATOR 75 THE CLASS OF PERINO 79 BIBLIOGRAPHY 80 IMAGE BIBLIOGRAPHY

PALAZZO DEL PRINCIPE

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PERINO DEL VAGA

PALAZZO DEL PRINCIPE

ABOUT THE ARTIST When Perino del Vaga (Piero Buonaccorsi) was very young, he lost both his mother and father. Orphaned, he was left to be raised by relatives in his native city Florence. Perino’s relatives arranged for him to have an apprenticeship in the apothecary of Pinadoro, but he was not interested in this field and became the assistant to the painter Andrea de’Ceri. During his years with Andrea he was called Perino de’Ceri. Around 1512, Andrea realised that Perino had an innate talent for painting and being a mediocre painter himself with no important commissions, he arranged for Perino to be an apprentice to Ridolfo Ghirlandajo. Whilst studying with Ghirlandajo, Perino also closely studied the cartoons of Michelangelo, whose influence resonates strongly in much of Perino’s early commissions. On a visit to Florence, Il Vaga was introduced to Perino and was impressed by his acute drawing skills and invited him to join him in Toscanella and Rome as his assistant. Anxious to get to Rome, the centre of art culture in the period, Perino left Florence to begin the most important phase of his career as apprentice to Vaga and was thereafter called Perino del Vaga. After a brief apprenticeship in Toscanella, Vaga took Perino to Rome and introduced him to several artists, who offered him small assistant jobs so that he could maintain himself in Rome after Vaga’s return to Toscanella. His early days in Rome were difficult, because he no longer had a master to support him and was forced to balance small, menial assisting jobs with intense study of both contemporary and antique works of art. It was during this period that Vasari asserts he became a master draughtsman. His drawings caught the attention of two of Raphael’s prominent assistants, Giulio Romano and Giovan Francesco, who showed them to Raphael. After seeing the drawings Raphael commented, “Perino would attain to the highest perfection of art,” and in 1518 offered him a place as an assistant under Giovanni da Udine for Pope Leo X’s Papal Loggia commission. Perino learned from the greatest artists of the period while in Raphael’s workshop, and in turn, his skills rapidly flourished.

From Giovanni, who was a master decorative artist, he mastered the decorative skills that would follow him for the rest of his career. Perino received many commissions in Rome from the Archbishop of Cyprus, the wealthy German Fugger family, M Marchionne Baldassini, the Church of S Marcello and the S Stefana del Cacco to name a few. After assisting on the Papal Loggia, Perino also assisted Giovanni on the Hall of the Pontiffs and after Raphael’s untimely death many of his top pupils received commissions originally intended for him. In 1523, the plague in Rome drove Perino back to Florence, where he was now a celebrity artist. His experiences in Rome and relationship with Raphael spurred great interest from local artists who wanted to know the differences between Roman and Florentine styles of painting. Whilst in Florence, Perino started a few commissions, but grew weary of the city and after the appointment of Pope Clement VII he returned to Rome to continue establishing his career. Mindful of Perino’s success, Romano and Francesco offered him Francesco’s sister, Caterina as his wife transforming their friendship into a kinship. This prevented the competition between the artists from repeating the triangular conflict of Michelangelo, Raphael and Sebastiano del Piombo. Perino’s success was once again interrupted, this time by the Sack of Rome in 1527. He was imprisoned and lost nearly all of his wealth acquired up to that point. Like many of his contemporaries, he needed an opportunity to start afresh. By this time Romano was in Mantua and Peruzzi in Siena. So, when the invitation to become the court painter for Prince Andrea Doria of Genoa at the Palazzo del Principe was received from Niccolo Viniziano, Perino gladly accepted. This appointment would become one of the major highlights of his career.

that Perino reached his maturity as an artist; in his decorations for the Prince’s palace – his first large-scale, independent commission.” Although, many of Perino’s original works no longer exist, his preparatory drawings reveal how he grew to become a master during his time at the Palazzo. Most of the work for the Palazzo was finished by 28th March, 1533, when King Charles V was hosted at the Palazzo by Prince Doria. In 1534, Perino left Genoa for Pisa, where he worked on several smaller commissions and purchased a home for his family. He returned to Genoa in 1536 and continued decoration of the Palazzo by conceiving and sometimes executing (Perino largely depended on his workshop to execute most of his ideas, because his responsibilities for the Palazzo were vast and demanding) decorative ornaments, tapestries, facades, gardens, fountains, and banners. In 1538, Perino moved back to Rome and was awarded one of the most important commissions of his career, the Castel Sant’Angelo. He became court painter for Cardinal Farnese and Pope Paul III and was paid twenty-five ducats per month to once again conceive and manage the execution of several churches, altarpieces and decorative stucco works. Having grown old, he was now interested in gaining as many commissions as possible to build a fortune, which caused him to heavily rely on his pupils to do most of the execution. Vasari criticised Perino and said, “He, then who thirsts for honour, should do his own painting.” Vasari postulated that Perino drove himself to death in 1547, because he overextended himself through the amount of commissions he accepted. His son in law M Gioseffo Cincio and wife buried him in the Pantheon next to Raphael, which is an ironic coincidence given the many parallels of the two great artist’s lives and careers.

Upon arrival to Genoa in 1528, Perino was warmly welcomed by Prince Doria and became the chief court artist of the Palazzo. Davidson elucidates that, “It was in Genoa

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PERINO’S CLOCK

PALAZZO DEL PRINCIPE

1501

PERINO DEL VAGA (PIETRO BUONACCORSI) BORN IN FLORENCE.

1512

PERINO APPRENTICES WITH RIDOLFO GHIRLANDAJO AND THEN BECOMES THE ASSISTANT TO IL VAGA.

1518-1519

PERINO JOINS RAPHAEL’S WORKSHOP AND ASSISTS GIOVANNI DA UDINE ON THE PAPAL LOGGIA FOR POPE LEO X AND THEN THE HALL OF THE PONTIFFS.

1523

PLAGUE OF ROME, PERINO DEPARTS FOR FLORENCE.

1525

PERINO RETURNS TO ROME AND MARRIES CATERINA,THE SISTER OF GIOVAN FRANCESCO, FROM RAPHAEL’S WORKSHOP.

1527

SACK OF ROME, PERINO IS IMPRISONED AND LOSES EVERYTHING.

1528-1534

NICCOLO VINIZIANO, FROM THE COURT OF PRINCE DORIA, CONVINCES PERINO TO COME TO GENOA TO WORK FOR THE PRINCE. PERINO LEAVES HIS FAMILY BEHIND IN ROME.

1534 1536-1538

PERINO MOVES TO PISA TEMPORARILY AND PURCHASES A HOUSE FOR HIS FAMILY. PERINO RELOCATES HIS FAMILY TO PISA. PERINO RETURNS TO GENOA, BECAUSE ACCORDING TO VASARI HE HAD INVOLVED HIMSELF WITH LOVE AFFAIRS AND OTHER PLEASURES,TO WHICH HE WAS INCLINED AT CERTAIN TIMES.

1538

PERINO MOVES BACK TO ROME AND BECOMES THE COURT ARTIST FOR CARDINAL FARNESE AND POPE PAUL III EARNING TWENTY-FIVE DUCATS A MONTH UNTIL HIS DEATH.

1547

PERINO DIES FROM AN APOPLECTIC SEIZURE HE IS BURIED BY HIS SON IN LAW M GIOSEFFO CINCIO AND WIFE IN THE PANTHEON NEXT TO RAPHAEL.

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PALAZZO DEL PRINCIPE

The Patron: PRINCE ANDREA DORIA Prince Andrea Doria was born in 1466 in Oneglia. Like Perino, he was also orphaned and subsequently left without his share of the family feudal heritage, forcing him to find a way to support himself. The Montefeltro and Della Rovere families cared for him whilst he was young and in 1513 he offered his services as a naval solider to the Republic of Genoa. In 1516, he purchased three galleys and pledged his allegiance to King Francesco I of France, but in 1528 he drove the French from Genoa and allied the republic with Spain through his new allegiance with King Charles V of Spain. He offered King Charles twelve galleys at his disposal and received ninety thousand golden scudi each year.

Genoa from Spain making them allies. For this Genoa conferred him with the title of “Pater Patriae.” Prince Doria broke Genoese tradition with the Palazzo by distancing himself from the city centre. This is one of the reasons the Republic of Genoa never acknowledged the Palazza as a Royal Palace. His patronage of Perino offered Genoa the rich traditions and beauty of Renaissance art and culture. The Palazzo became an emblem for Prince Doria and his lineage, with each generation enhancing the grandeur of the Palazzo by adding more rooms, gardens, fountains and decorations.

Before 1527, Prince Doria did not frequent the Palazzo del Principe, but after his marriage to Peretta Usodimare he established a home with his wife in Fassola. Prince Doria refurbished the Palazzo to resemble the architecture of Roman palaces. He likened himself to many great Roman Warriors and as the mythological god Neptune, who commanded the sea. When it was time to decorate the Palazzo, Prince Doria knew he would need to find an artist from Rome familiar with the Romanesque style of architecture and decoration. Perino was selected given his established reputation in Rome. In 1533, Prince Doria hosted King Charles V at the Palazzo for twelve weeks. This visit would have been important for Prince Doria for two reasons. Firstly, because King Charles V had previously visited Genoa, but was unable to stay in the Palazzo because it was unfinished. Secondly, because Federigo Gonzaga in Mantua had already hosted King Charles V twice and this would give Prince Doria the opportunity to eclipse Gonzaga by exposing his wealth and status through the opulence of the Palazzo. King Charles V’s visit was also quite political, because it was during this visit that Prince Doria probably negotiated the independence of Savona and

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PALAZZO DEL PRINCIPE

PALAZZO DEL PRINCIPE:

THE FAÇADE

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THE FAÇADE

PERINO WAS THE FATHER OF THESE MOST NOBLE ARTS – STUCCO, GROTESQUES, LANDSCAPES, ANIMALS AND FRESCOES IN OIL AND DISTEMPER —Giorgio Vasari

THE FAÇADE

PALAZZO DEL PRINCIPE

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THE FAÇADE

PALAZZO DEL PRINCIPE

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THE FAÇADE The façade of the Palazzo del Principe was the last segment of the Palazzo commission that Perino worked on before returning to Pisa. He never executed the façade or the marble Doric order portal leading into the atrio, but his precise preparatory drawings served as a blueprint for Giovanni da Fiesole and Silvio Cosino to execute. The portal was built between 1531 and 1533. Cosino carved the two allegoric figures, Peace and Abundance, which frame Prince Doria’s coat of arms in the centre. Other external elements of the Palazzo like the Fountain of Neptune, conceived and executed by the Carlone brothers in the 17th century, did not have Perino’s involvement. It’s important to note that the original architect of the Palazzo is unknown, but there are Lombard, Tuscan and Eastern architectural style influences apparent throughout the design. However, when Prince Doria decided to make the Palace his permanent home he did restore and enhance the architecture to reflect a Romanesque architectural style.

THE FAÇADE

PALAZZO DEL PRINCIPE

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PALAZZO DEL PRINCIPE

PALAZZO DEL PRINCIPE:

SALA DEI TRIONFI

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SALA DEI TRIONFI

IT WAS IN GENOA THAT PERINO REACHED HIS MATURITY AS AN ARTIST; IN HIS DECORATIONS FOR THE PRINCE’S PALACE – HIS FIRST LARGE-SCALE, INDEPENDENT COMMISSION.

—Bernice Davidson

SALA DEI TRIONFI

PALAZZO DEL PRINCIPE

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SALA DEI TRIONFI

PALAZZO DEL PRINCIPE

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SALA DEI TRIONFI

SALA DEI TRIONFI The Sala del Trionfi also known as the atrio entrance was the welcoming room for guests to the Palazzo del Principe. The vault in the atrio is decorated with ornate stuccowork, grotesques and painted battle scenes. There are two dates painted on the vault: 1530 most likely refers to the date Perino completed the vault decorations and 1847 refers to the date of Annabale Angelini’s restoration of the vault. There are several existing drawings that correspond with the architecture and figures within the lunettes and spandrels of the vault. However, Perino’s initial idea in the drawing changes in the final fresco painting. The drawing denotes that his original idea was to fill the lunettes with stucco figures and grotesque designs, but he replaces these motifs with gods and goddesses. The seated figure in the centre spandrel of the drawing is possibly a reference to Ares, the god of war, but in the painting he has been replaced by the god Saturn, who is holding an infant who appears to have his entire hand in his mouth.

The drawing of the two warriors in battle is a study for one of the vault lunettes. It depicts the battle of Horatii and Curatii. The poor condition of the fresco makes it difficult to be certain of the iconography, but this appears to be the most appropriate analysis. Also situated within several of the compartments of the vault are rectangular compartments that depict scenes of the triumph of Bacchus’ victory in India and Aemilius Paulus victory over Perseus. Raphael’s influence on Perino’s Triumph of Bacchus fresco is seen in the drawing and engraving made after his Triumph of Bacchus executed in 1517. The Aemilius triumph frescoes are divided into days of triumphal marches that include processions of pictures, statues, armour, coined silver, goblets and captives taken by the Roman victors of the battle.

SALA DEI TRIONFI

PALAZZO DEL PRINCIPE

HE THEN WHO THIRSTS FOR HONOUR, SHOULD DO HIS OWN PAINTING. — Giorgio Vasari

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SALA DEI TRIONFI

PALAZZO DEL PRINCIPE

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COMPARTMENT I

PALAZZO DEL PRINCIPE

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COMPARTMENT II

COMPARTMENT III

PALAZZO DEL PRINCIPE

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COMPARTMENT IV

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THAT HE WAS ENABLED IN DUE TIME TO EXECUTE THOSE NOBLE AND FAMOUS DECORATIONS WHICH HAVE BROUGHT SO MUCH GLORY TO GENOA AND TO PRINCE DORIA. —Giorgio Vasari

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PALAZZO DEL PRINCIPE

COPYCAT:

RAPHAEL’S INFLUENCE ON PERINO

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RAPHAEL

RAPHAEL’S INFLUENCE ON PERINO The majority of Perino’s preparatory drawings were rendered in pen and wash. This is a medium he would have become skilled in using when working in Raphael’s workshop at the Papal Loggia. By this time Raphael had abandoned the use of red chalk in favour of pen and wash, which offered the artist a quicker stroke enabling drawings with more decorative linear possibilities.

PERINO DEL VAGA

PALAZZO DEL PRINCIPE

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PALAZZO DEL PRINCIPE

PALAZZO DEL PRINCIPE:

LOGGIA DEGLI EROI

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LOGGIA DEGLI EROI

PALAZZO DEL PRINCIPE

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LOGGIA DEGLI EROI

PALAZZO DEL PRINCIPE

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LOGGIA DEGLI EROI

BAY I

PALAZZO DEL PRINCIPE

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BAY II

BAY III

PALAZZO DEL PRINCIPE

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BAY III

PALAZZO DEL PRINCIPE

LOGGIA DEGLI EROI The staircase, which has been refurbished by Angelini, leads from the Sala dei Trionfi to the Loggia degli Eroi. The twelve warriors, who represent captains of the Doria family, on the wall painting are strikingly real, almost three-dimensional. The figures are seated along a dais, which recedes into a painted panel wall. One warrior even rests his elbow on the lintel of a doorway. This execution is an example of Perino’s use of illusionistic devices in his work. Most are wearing ancient Roman vests and only one is in modern armour. Above the painting is the inscription: PRAECLARAE FAMILIAE MAGNI VIRI MAXIMI DUCES OPTIMA FECERE PRO PATRIA (“he great men of the notable family, supreme chiefs, fulfilled great deeds for the native land”). At the end of both sides of the Loggia are doors that lead into Prince and Princess’ apartments. There is also evidence of an execution date as 1530 is painted on a lintel in the Loggia similar to the date on the atrio vault. So, Perino could have worked simultaneously on both of these areas of the Palazzo. The vaulting of the Loggia has five arches decorated with stucco.

Again, it appears that Perino has been influenced by Raphael’s bronze seated rulers in the Stanza dell’Incendio, which is attributed to Romano. The single drawing of the warrior Ansaldo is one of the rare chalk drawings by Perino and the final painted version closely resembles the drawing except for small additions like a beard and shield added to the figure and a more defined costume. The Loggia is divided into five bays, which have lunettes with putti playing in them. In the vaults, octagonal painted scenes depict Roman heroes such as Horatius Cocles defending the bridge and surrounded by four scenes of Venus and Cupid in the first bay. The remaining compartments include Titus Manlius in the second bay, Marcus Curtius in the third bay, Camillus refusing ransom from the Gauls in the fourth bay and Mucius Scaevola in the fifth bay. Perino would have selected these themes at the request of Prince Doria and his affinity to compare himself to the stories of ancient Roman heroes.

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BAY IV

BAY V

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PALAZZO DEL PRINCIPE

PALAZZO DEL PRINCIPE:

SALA DEI GIGANTI

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SALA DEI GIGANTI

PALAZZO DEL PRINCIPE

SALA DEI GIGANTI The Sala dei Giganti was the most important room in the Palazza, because this was the room selected to host parties and luxurious banquets. On the vault of the Giganti is the famous stucco of the Fall of the Giants, a narrative also painted by Romano in the Palazzo Te in Mantua. Jove is seen slaying the giants with thunderbolts and looks strikingly similar to Michelangelo’s God in the Sistine Chapel Vault. It is strange that the thunderbolts in Perino’s fresco appear to be locks of hair. Several elements of this fresco reveal Michelangelo’s influence on Perino. The giants resemble Michelangelo’s colossi in the Sistine Chapel and his warriors bathing in the Battle of Cascina. The figures on the bottom plane of the fresco are placed into complex positions adding to the theatricality of the narrative. The separation of the planes also correlates with Raphael’s Disputa and Transfiguration. The planes are connected by the ring of two giants forming an oval with Jove above, giving the overall fresco more compositional harmony.

This particular fresco references Prince Doria’s triumph over the Turks in 1533 and 1535, which leads to the assumption that the fresco was completed in 1535. In the fresco Prince Doria is represented as Jove defeating the Turks. Perino denotes the giants as the Turks in his portrayal of them as savage barbarians wearing turbans with darker skin and Eastern physical characteristics. This fresco serves as an example of how Prince Doria referenced narratives from Roman history and mythology to correlate to his victories and feel unified with the celebrated heroes of history and myth.

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PERINO WOULD ATTAIN TO THE HIGHEST PERFECTION OF ART. — Raphael Sanzio

SALA DEI GIGANTI

PALAZZO DEL PRINCIPE

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PALAZZO DEL PRINCIPE

PALAZZO DEL PRINCIPE:

SALA DEL NAUFRAGIO

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SALA DEL NAUFRAGIO

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SALA DEI NAUFRAGIO The Sala del Naufragio is located in the Apartment of Princess Peretta, where the decorations reflect feminine and loving themes from Ovid’s Metamorphosis. Although the fresco of the Shipwreck of Aeneas no longer exists, Perino’s drawings for the vault give an idea of how the fresco would have appeared.The nude male figures fighting for survival in the sea and Neptune on his horse drawn chariot charge the drawing with an energetic and active composition. There also appears to be figures drawn into the clouds, perhaps they represent gods and goddesses overlooking the scene. The drawing of Neptune and his sea chariot looks as if it was sketched in great haste, but even amongst the disarray of lines the silhouette of the figures are still discernible. The study of the bare leg also appears to be a reference point for Neptune’s leg in the more finished drawing.

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PALAZZO DEL PRINCIPE

PALAZZO DEL PRINCIPE:

PIANO NOBILE

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PIANO NOBILE

PALAZZO DEL PRINCIPE

PIANO NOBILE Adjacent to the two major salons of the Loggia are smaller rooms with rectangular ceilings referred to as the piano nobile that functioned as bedrooms, wardrobe rooms and dining rooms.The general decoration of these rooms is less complex to the major salons and the Loggia.The rooms adjoined to the Princess’ Apartment include the Jupiter Room, Psyche Room, Aracne Room, Filemone Room, Eetonte Room,Tribute Hall, Triumph Hall, Prometheus’s Happenings Hall and the Punishment Hall. Several of these rooms were added after the reign of Prince Doria and Perino’s service as court artist.The themes are allegorical and mythological in nature. The rooms adjoined to the Prince’s Apartment include the Perseus Room, Sacrifice Room, Zodiac Room and Cadmus Room. The themes depicted are mostly references from Ovid’s fables.

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PALAZZO DEL PRINCIPE

PERINO THE DECORATOR

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PERINO THE DECORATOR

PERINO THE DECORATOR In addition to all of the vault decorations that Perino conceived, he was also expected to execute other decorative elements within the Palazza such as fireplaces, plates, chalices, ewers, bowls and candlesticks. It is impressive to see the same level of detail executed in the stucco and grotesque decorations of the frescos also resonating in smaller decorative ornaments.

PERINO THE DECORATOR

PALAZZO DEL PRINCIPE

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PALAZZO DEL PRINCIPE

THE CLASS OF PERINO

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CLASS OF PERINO

PALAZZO DEL PRINCIPE

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PALAZZO DEL PRINCIPE

BIBLIOGRAPHY Campbell, S. and Cole, M. (2012) A New History of Italian Renaissance Art. London:Thames and Hudson. Davidson, B. (1959) “Drawings by Perino del Vaga for the Palazzo Doria, Genoa”,The Art Bulletin, pp. 315-326. Davidson, B. (1990) “The Navigatione d’Enea tapestries designed by Perino del Vaga for Andrea Doria”,The Art Bulletin, 72, pp. 35-50. Davidson, B. (1998) “The Furti di Giove tapestries designed by Perino del Vaga for Andrea Doria”,The Art Bulletin, 70, 424-450. Hansen, M. (2013) In Michelangelo’s Mirror: Perino del Vaga, Daniele da Volterra, Pellegrino Tibaldi, University Park. Parma, E. (2001) Perino del Vaga tra Raffaello e Michelangelo, exhib, cat., Armani, Milan. Linda Wolk-Simon (2005) “Competition, Collaboration, and Specialization in the Roman Art World, 1520-27”, in The Pontificate of Clement VII: History, Politics, Culture, eds Kenneth Gouwens and Sheryl E. Reiss, Aldershot and Burlington,VT, 253-276. Vasari, G. (2006) The Lives of the Artists. New York: Modern Library.

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IMAGE BIBLIOGRAPHY

BOTTOM IMAGE: Eagles by Brothers Caloni (Early 17th Century). From Publication Italian Villas and Palaces, Thames and Hudson, G Masson. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 20: TOP IMAGE: Arcade after Raid of 23rd April 1944. Palazzo Doria a Fassolo. Neg. by Superintendency. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. BOTTOM IMAGE: Damage to Garden on 2nd August 1944. The Nettuno Fountain is Completely Destroyed. Palazzo Doria at Fassolo. Neg. Supr. Mon. Genova. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 21: TOP IMAGE: Showing Destroyed Arcade to the Left. Palazzo Doria-Pamphili. Neg. by Lt Col P Gardener. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

IMAGE BIBLIOGRAPHY COVER IMAGE CREDITS: Palazzo Doria-Pamphili. Remains of the Fountain of Neptune. Neg. by Lt Col P. Gardner. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 4: Study of Standing Putto. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 7: The Nativity (1534). By Perino del Vaga. Courtesy of the National Gallery of Art Image Archive. PAGE 8: Perin Del Vaga Pit Fiorent. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 10: Study of Heads. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 12: Portrait of Andrea Doria Dressed as Neptune. By Bronzino. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

PAGE 14: Drawing for a Portal of the Villa Doria, Genoa (1535-1536). By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 16: Portal of the Villa Doria, Genoa. By Silvio Cosino. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 17: East Door of the Villa Doria, Genoa. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 18: TOP IMAGE: Drawing for the North Façade of the Villa Doria, Genoa (1534-1536). At Chantilly, Musée Condé. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. BOTTOM IMAGE: Photo of Palazzo Doria. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 19: TOP IMAGE: Courtyard as it was. Palazzo Doria a Fassolo. Ne. by Superintendency. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

BOTTOM IMAGE: Palazzo Doria Genoa Blueprint. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 22 AND 23: Study for Atrio Vault. By Perino del Vaga. Chantilly, Musée Condé (Photo: Bernard). Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 24: Study for Atrio Vault. By Perino del Vaga. Cabinet des Dessins. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 25: Study for Atrio Vault. By Perino del Vaga. Uffizi (Soprintendenza alle Gallerie di Fireneze). Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 26: Study for Gods and Goddesses in the Spandrels surrounding Ceiling Decoration in the Sala dei Trionfi, Palazzo Doria, Genoa. By Perino del Vaga. Pen. (Szepmuveszeit Museum, Budapest). From Burlington Mag., Feb. 1956. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 27: Study for Atrio Vault (?). By Perino del Vaga. Cabinet des Dessins. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

IMAGE BIBLIOGRAPHY

PAGE 28 AND 29: Gods and Goddesses (1530). By Perino del Vaga. Detail from Arches and Spandrels surrounding Ceiling Decoration. (Sala del Trionfi, Palazzo Doria, Genoa). Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 30 AND 31: Preliminary Drawing for the Ceiling of the Sala dei Trinofi, Palazzo Doria, Genoa. By Perino Del Vaga. Pen and Wash. (Palazzo Reale, Turin). Burlington Mag., 1956, Feb. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

PALAZZO DEL PRINCIPE

PAGE 36: Porzione del Soffitto del Vestibolo. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

PAGE 47: TOP LEFT IMAGE: Alfreschi nella Loggia, Particolare. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

PAGE 37: Trionfo di Scipione, Affresco del Soffitto del Vestibolo. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

TOP RIGHT IMAGE: Guerrieri Seduit. By Perino del Vaga. Albertina, N. 574. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

PAGE 40: Study by Raphael. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

BOTTOM LEFT IMAGE: Study for the Loggia. By Perino del Vago. Louvre, Cabinet des Dessins. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

PAGE 32: TOP IMAGE: Trionfo di Bacco, By Perino del Vaga.Vienna, Albertina. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

PAGE 41: Sheet of Studies. By Perino del Vaga. Cabinet des Dessins, Musée du Louvre, Paris. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

BOTTOM IMAGE: Image of Trionfo di Bacco Fresco in the Palazzo Doria in the Sala del Trionfi. By Perino del Vago. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

PAGE 43: Lunetta della Galleria degli Eroi. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

PAGE 33: TOP IMAGE: Detail of the Trionfo di Bacco, By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. BOTTOM IMAGE: Copia da Raffaello, Trionfo di Bacco in India. Collezione Privata. As seen in Parma, E. (2001) Perino del Vaga tra Raffaello e Michelangelo, exhib, cat., Armani, Milan. PAGE 34: TOP IMAGE: Detail Shot of Atrio Vault at the Palazzo Doria. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. BOTTOM IMAGE: Trionfo di Scipione, Affresco del Soffitto del Vestibolo. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 35: TOP IMAGE: Detail Shot of Atrio Vault at the Palazzo Doria. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. BOTTOM IMAGE: Trionfo di Scipione, Affresco del Soffito del Vestibolo. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

PAGE 44: TOP IMAGE: Loggia, Palazzo Doria, Genoa. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. BOTTOM IMAGE: Studio di Braccio. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 45: TOP IMAGE: Bronze Seated Rulers of Stanza dell’Incendio. By Giulio Romano. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. BOTTOM IMAGE: Detail of the Loggia. Courtesy Craig H. Smyth. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 46: TOP IMAGE: Study of Animals, Figures and Decorative Elements. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. BOTTOM LEFT IMAGE: Study of Eagle’s Head. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

BOTTOM RIGHT IMAGE: Study for the Loggia (Rare Chalk Drawing). Bayonne, Musée Bonnat. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 48: Detail of Loggia, Palazzo Doria. By Perino del Vaga. (Photo: Noack). Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 49: TOP IMAGE: Galleria Degli Eroi. By Perino del Vaga: Affreschi and Silvio Cosini: Stucchi. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. BOTTOM IMAGE: Study for Loggia Vault. By Perino del Vaga. Courtesy of the Trustees of the British Museum. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 50: Palazzo Doria Pamphili. Porzione del Sofitto della Galleria degli Eroi. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 51: TOP IMAGE: Marcus Curtius Throwing Himself into the Chasm of the Roman Forum. Loggia degli Eroi. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. BOTTOM IMAGE: Detail of Marcus Curtius Throwing Himself into the Chasm of the Roman Forum. Loggia degli Eroi. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

BOTTOM RIGHT IMAGE: Study of an Eagle on a Branch. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

FADING BEAUTY

PAGE 52: TOP IMAGE: Study for Marcus Curtius Throwing Himself into the Chasm of the Roman Forum. Loggia degli Eroi. Oxford, Ashmolean Museum. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. BOTTOM IMAGE: Studies of Horses (1530-1535). By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 53: Studies of Mounted Horsemen. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 54: Galleria degli Eroi. By Perino del Vaga: Affreschi and Silvio Cosini: Stucchi. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 55: Porzione del Soffitto della Galleria degli Eroi. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 57: Giova Fulmina i Giganti, Affresco di Pierin del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 58: TOP IMAGE: Study for The Fall of the Giants. By Perino del Vaga. Larchmont, New York, S.S. Schwarz Coll. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. MIDDLE IMAGE: Study for The Fall of the Giants. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. BOTTOM IMAGE: Copy of Battle of Cascina. By Michelangelo. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 59: Study of Detail of The Fall of the Giants. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

IMAGE BIBLIOGRAPHY

PAGE 63: Naufragio di Enea. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 64: Study of Neptune. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 65: Study of Legs. By Perino del Vaga. Ecole des Beaux-Arts. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 68: TOP IMAGE: Study for Vault of Cadmus Room. Chantilly, Musée Condé. (Photo: Bernard). Courtesy of The Courtauld Institute of Art Witt Library Image Archive. BOTTOM IMAGE: Study for Vault of Sacrifice Room. Chantilly, Musée Condé. (Photo: Bernard). Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 69: Study for Vault of the Cadmus Room. Chantilly, Musée Condé. (Photo: Bernard). Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 71: Salon of the Loggia. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 72: TOP IMAGE: Study of Design for Plate. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. BOTTOM IMAGE: Study of Design for Ewer. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 73: TOP IMAGE: Study of Design for Chalice. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

PAGE 60: Detail of Sistine Chapel Vaults. By Michelangelo. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

MIDDLE IMAGE: Study of Design for Two Ewers and a Bowl. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

PAGE 61: Disputa (1509-1510). By Raphael. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

BOTTOM IMAGE: Study of Design for Two Candlesticks. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive.

PAGE 78: Study of Heads and Upper Body. By Perino del Vaga. Courtesy of The Courtauld Institute of Art Witt Library Image Archive. PAGE 80: Jupiter and Danaë. By Perino del Vaga. Tapestry Cartoon for the Furti di Giove.

PALAZZO DEL PRINCIPE