打字猴:1.705657353e+09
1705657353  33.   The Uffizi portrait is variously credited to Credi, Raphael and Perugino himself; on the pen–and–ink drawing (Uffizi GDS 250E) see Rubin and Wright 1999, 144.
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1705657355  34.   Gilbert 1992, 34. On Florentine artistic apprenticeship see also Rubin and Wright 1999, 78ff.; Luchinat 1992.
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1705657357  35.   Cennini 1933, 4–5.
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1705657359  36.   PC 1.11 (part of the fragmentary supplement to Giovio’s Leonardi Vincii vita ).
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1705657361  37.   Rubin and Wright 1999, no. 29; cf. RL 12515.
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1705657363  38.   这幅皱褶习作(Louvre, Cabinet des Dessins RF 2255; Zöllner 2003, no. 183)和《天使报喜》中圣母的衣袍皱褶相似,但不相同。它很也接近洛伦佐·迪·克雷迪绘制、韦罗基奥工作室出品的皮斯托亚祭坛画(约1476年至1485年)中圣母衣袍上的皱褶。但它更接近1484年左右多梅尼科·吉兰达约画的《圣者加冕圣母像》(Madonna Enthrone with Saints ),现存乌菲兹美术馆,这也是两个工作室互相交流的诸多证据之一。
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1705657365  39.   Vezzosi 1997, 32.
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1705657367  40.   Drapery in the Trattato : CU 167r–170v, McM 559–74 ‘Thin cloths’ etc.: RL 19121r.
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1705657369  41.   The Youthful Christ , about 13 inches (33 cm) high, is in a private collection (Coll. Gallendt, Rome). On its identity with the ‘little head’ (testicciola ) owned by Lomazzo, see M. Kemp, ALV 4 (1991), 171–6; Pedretti 1998b, 15–16.
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1705657371  42.   Lomazzo1584, 159.
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1705657373  43.   CA 888r/342r.
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1705657375  44.   BM 1895–9–15–474, metalpoint on cream–coloured paper, usually dated c. 1472–5. 据瓦萨里说,韦罗基奥的大流士浮雕由洛伦佐·德·美第奇委托,是送给匈牙利国王马加什一世的礼物,一起送出的另一件作品则描绘了亚历山大大帝;大流士与罗比亚工作室1500年左右制作的一尊釉面红陶土侧面像很相似,并且和列奥纳多的素描非常像。侧面像是韦罗基奥工作室的另一类作品:其中一件是给洗礼堂制作的银雕士兵像《斩首圣约翰》(Beheading of St John ),制作时间约为1477年至1480年;还有一件是他在15世纪80年代中叶于威尼斯完成的巴尔托洛梅奥·科莱奥尼塑像。
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1705657377  45.   他没有获得这次委托:六种美德由波莱沃洛兄弟绘制,还有一幅《坚韧》(Fortitu-de ),现藏乌菲兹美术馆,他们转交给了波提切利(GDA 4.493, s.v. Botticelli)。
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1705657379  46.   A Ir, R 628.
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1705657381  47.   See Dunkerton and Roy 1996 for a technical analysis of Florentine panel paintings of the 1470s and’80s (by Botticelli, Ghirlandaio, Filippino Lippi et al.) in the National Gallery, London. 这些艺术家选择的颜料都“相对保守”,他们绘制某些特定的颜色使用了油彩,但他们更喜欢蛋彩画“轻盈明亮的色调”,“看他们似乎故意拒绝了更有创新和试验性的油画技术”。
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1705657383  48.   Baxandall 1988, 6.
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1705657385  49.   An ‘artificial’ malachite, a precipitate of copper salts, was also used: it is found in the landscape of Uccello’s Battle of San Romano (National Gallery, London), dating from the 1430s; see Dunkerton and Roy 1996, 28, 31.
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1705657387  50.   CA 704bv/262r–c; cf. a similar recipe in CA 195v/71v–a (R 619), a sheet containing fragments of poetry datable to c. 1480.
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1705657389  51.   Villata 1999, no. 17. The Ingesuati, whose monastery stood outside the Porta a Pinti,were another of Ser Piero da Vinci’s clients (Cecchi 2003, 123).
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1705657391  52.   Dull landscapes: CU 33v, McM 93. Indecorous Annunciation : CU 33r, McM 92. 现存乌菲兹美术馆的波提切利的《天使报喜》,不是唯一遭到列奥纳多批评的作品(see, for example, Luca Signorelli’s, Johnson Coll., Philadelphia)。‘Sandro!’: CA 331r/120r–d;这里的争论可能是波提切利在后萨伏那洛拉时期的宗教狂热,与科学拥趸列奥纳多之间更深层次的断裂的伏笔。(Argan 1957, 127f.)
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1705657393  53.   Baxandall 1988, 111–14. 乔瓦尼·桑蒂斯是乌尔比诺公爵的御用画师。这首诗表面上的背景是公爵在1482年春天到访佛罗伦萨,但这些诗句似乎写得更早。1482年时,佩鲁吉诺大概33岁,而列奥纳多30岁,因此他们都不再是“少年”了,也都离开了佛罗伦萨。这首诗也赞扬了吉兰达约、菲利皮诺·利比、波提切利和卢卡·西尼奥雷利。短语“par d’amori”可能意味着“喜欢他们的人数一样”,也就是同样受人钦佩。
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1705657395  54.   On Credi’s Annunciation (Louvre), see Marani 1999, 67–8; Zöllner 2003, 220.
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1705657397  55.   GDA 19.675, s.v. Lorenzo di Credi; Covi 1966.
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1705657399  56.   Contracts for Piero della Francesca’s Madonna della Misericordia , San Sepolcro, 1445, and Filippino’s Strozzi–chapel frescos, 1487: Baxandall 1988, 20–21.
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1705657401  57.   According to Vasari, the Pollaiuolo Tobias (Gall. Sabauda, Turin) was by both brothers in collaboration, and was painted for the guild hall of Orsanmichele (Vasari 1987, 2.74).
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