A pen and ink drawing in the Louvre (de Tolnay 118), discovered and first attributed to Michelangelo by Berenson, is not mentioned by Wilde but is considered an autograph self portrait by de Tolnay and Hirst (1988). Introduzzione di Giorgio Vasari alle tre arti del disegno cioè architettura, pittura e scoltura, e prima dell'architettura : Cap. 16 Giorgio Vasari, Le vite de' più eccellenti pittori, scultori e archittetori, ed. Barocchi also gives the literature on attempts to find Michelangelo's antique source, and leaves these questions open. 1. 5 Frey, Nachlass Giorgio Vasari, 2: 885, and 2: 734, Letter CMXLVIII, December 20, 1572, where the humanist, Vincenzo Borghini, praises the invenzioni (inventions) in this painting. We can also recall that Vasari also often uses ... (Considerazioni sulla pittura, ed Barocchi & Salerno, 1956).Troviamo la stessa interpretazione nel Vocabolario Toscano dell’arte del Disegno di Baldinucci (Firenze, 1681, ad vocem – Ritrarre) dove si afferma che ‘questo è usato dai nostri artisti per descrivere la pittura dalla vita’, “da nostri artefici si usa quella voce per lo dipignere dal naturale”, e questa è … 169 –193. 14 Cooper, Symbols, 66. 3099067 28 Vasari, Le vite (Bettarini and Barocchi), 1: 11. Lot No. Cited by lists all citing articles based on Crossref citations.Articles with the Crossref icon will open in a new tab. Oct. … Bettarini and Barocchi, 1:144 and 303, noting that Vasari travelled to Tivoli and saw the Roman ruins of Hadrian’s villa. Registered in England & Wales No. William Granger Ryan (Princeton, NJ: Princeton University Press, 1995), 1: 29–30. Search. We use cookies to improve your website experience. and there).The letter is published and discussed in Paola Barocchi, ed., Giorgio Vasari, La vita di Miche langelo nette redazioni del 1550 e del 1568, vol. 1642, from Vasari's Il libro de' disegni. Who we are; Organisation; Campuses and Structures; Support the Alma Mater; Competitions and selections; Contracting and sales; Quality Assurance; … Nell’edizione per i tipi di Lorenzo Torrentino, Firenze 1550, a cura di Luciano Bellosi e Aldo Rossi, Einaudi, Torino 1986. The … [Lecce] Milella, 1968 (OCoLC)613251512: Named Person: Michelangelo Buonarroti; Giorgio Vasari; Michelangelo Buonarroti: Document Type: Book: All Authors / Contributors: Paola Barocchi. Recommended articles lists articles that we recommend and is powered by our AI driven recommendation engine. 6 Hall, Renovation and Counter‐Reformation, 144, n. 1, citing the inventory. See also Miles, Image as Insight, 124–25. (Munich: George Müller, 1930), 2: 705, 706–7, and 710. The school of the destitute people led by Borromeo and the Oratorians wished for a return by the Church to the charity, sobriety, and poverty of its beginnings. 1. By closing this message, you are consenting to our use of cookies. P. scultori e architettori, nelle redazioni del 1550 e 1568, ed. No. 630F); and Laura Corti, ed., Giorgio Vasari (Florence: Edam, 1981), 142 and 164. Records and letters between October and December 1572, to and from Vasari and Vincenzo Borghini, the leading prelate and humanist in Florence, indicate that the painting was nearly completed. RF 31129), see Licia Ragghianti Collobi, Il libro de' disegni del Vasari (Florence: Vallecchi Edition, 1974), 259, fig. Vasari-Barocchi, pp. (38) His friend Sebastiano, who also had social pretensions, claimed to be speaking from experience when he advised Michelangelo to ride for good health and rest at midday: "Advertite cavalcate per el fresco sopra tutto, et reposate da mezo zorno, che io vi parlo con la experientia in mano" (Carteggio, 3:420). E. … 31 See n. 7. 25, and Old Master Drawings from the Collection of John and Alice Steiner, exhibition and catalog (Santa Barbara, CA: Santa Barbara Museum of Art, 1986), entry “Giorgio Vasari.”. Barocchi, Florenz 1966ff. "Lorenzo Cossa" (a conflation of Cossa and Lorenzo Costa), in the 1550 life of Cossa's student Ercole de' Roberti ("Ercole Ferrarese", Vasari, ed. 2 Giorgio Vasari, Le vite de’ più eccellenti pittori, scultori e architettori, Rosanna Bettarini, Paola Barocchi eds, Florence 1966 –1984, vol. See also U. Pflugk, “Die Geschichte vom ungläubigen Thomas in der Auslegung der Kirche von den Anfangen bis zur Mitte des sechzehten Jahrhunderts” (doctoral diss., Hamburg University, 1967), 106; Andrew Butterfield, “Verrocchio's Christ and St. Thomas: Chronology, Iconography and Political Context,” Burlington Magazine 134 (1992): 230; and Andrew Butterfield, “The Christ and St. Thomas of Andrea del Verrocchio,” in Verrocchio's Christ and St. Thomas, ed. 3 Vasari's commission is recorded in Alessandro del Vita, Il libro delle ricordanze di Giorgio Vasari (Arezzo: Tipografia Zelli, 1938), 108, where M. Marc'Antonio Vasari's “Aggiunte alle Ricordanze di Giorgio Vasari” of 1569 states: [Si disengo] “la tavola de' Guidacci in Santa Croce di Firenze entrovi quando S. Tomaso tocca le stimate a Cristo” and Frey, Nachlass Giorgio Vasaris, 2: 885; however, there is an error with the date of 1569, according to Walter and Elisabeth Paatz, Die Kirchen von Florenz, 6 vols. R. Bettarini and P. Barocchi, 9 vols. s Paul F. Norton, 'The Lost Sleeping Cupid of Michelangelo', Art Bulletin, xxxxx, 1957, PP. 21 Anna Brownell Jameson, Legends of the Madonna as Represented in the Fine Arts (London: Unit Library Limited, 1903), 445–57, on the legend of the Holy Girdle and Saint Thomas. Baccio Bandinelli, who also had exaggerated social … Giorgio Vasari's Incredulity of Saint Th .... : A Tribute to Helene E. Roberts ``Second Hand Images'': On Art's Surrogate Means and Media - Part II: Collecting and Iconography - Guest Editor: Julie F. Codell. Rosanna Bettarini, intro. See Giorgio Vasari, Le Vite de’ più eccellenti pittori scultori e architettori nelle redazioni del 1550 e 1568 ( The Lives of the most excellent painters and sculptors in the editorial versions of 1550 and 1568). 1 and 2; Catherine Monbeig‐Goguel, Inventaire général des dessins italiens I: Maîtres toscans nés après 1500, morts avant 1600; Vasari et son temps (Paris, Editions de la Réunion des Musées Nationaux: 1972), 124–27, figs. Giorgio Vasari's biography of Uccello states that he had "a daughter who knew how to draw." JUMP TO LOT. Series Title: Minima, 1: … Seconda parte Title of v.3, pt.1: Delle Vite de' piv eccelenti pittori scvltori et architettori scritte da m. Giorgio Vasari, pittore et architettori aretino. (Florence: G. C. Sansoni, 1970–1974), 7: 28. 32 Elaine Pagels, Beyond Belief: The Secret Gospel of Thomas (New York: Random House, 2003), 57, and Bart D. Ehrman, Lost Scriptures: Books that Did Not Make It into the New Testament (New York: Oxford University Press, 2003), 57–62. 251-57; Anne Scott-Elliott, 'The Statues from Mantua in the … 23 Thomas Aquinas, Summa Theologica Supplement, ed. Register to receive personalised research and resources by email, an international journal on images and their uses, /doi/full/10.1080/01973762.2011.542361?needAccess=true. Giorgio Vasari, The Conversion of Saul, Cortona, Compagnia di Ges ù. 153-54; A Venturi, 'Il "Cupido" di Michelangelo', Archivio storico dell'Arte, i, 1888, p. 7. I. Create lists, bibliographies and reviews: or Search WorldCat. Artistic success originates from … In this essay, I analyze the influence of Italian fifteenth‐ and sixteenth‐century imagery on Vasari's painting as well as his interpretation of the religious theme in relation to the Counter‐Reformation. IX-XVII. cosa di simile materia, qualche tempietto et altre 40. Invalid. 33 Most, Doubting Thomas, 28–73, for an explanation on believing and touching, in particular, touching God. I: text vol., 369 pp. Old Master & British … Register to receive personalised research and resources by email, ed. 25 Frey, Nachlass Giorgio Vasaris, 2: 885. Two years later, Girolami Guidacci, on behalf of his family, donated the painting to the church of Santa Croce. Lot No. R. Bettarini and P. Barocchi, 3, part 1, 1971: 420), notes "E cosi in San Petronio, in una cappella, una tavola a tempera che si conosce a la maniera, con una predella sotto di figure piccole fatte con gran diligenzia" … One of the forefathers of modern European museums, they were built by Giorgio Vasari to cater for Cosimo I’s public offices, and were later partly transformed into a gallery by Francesco I de’ Medici (1541–1587). [1] The first mention of the altarpiece is in Giorgio Vasari's Vite. Old Master & British … III. To learn about our use of cookies and how you can manage your cookie settings, please see our Cookie Policy. See also Monbeig‐Goguel, Vasari et son temps, 145–47, for an illustration and discussion of Salviati's drawings, and Nova, “Salviati, Vasari, and the Reuse of Drawings,” 83–84. G. Vasari, Le Vite de’ più eccellenti Pittori Scultori e Architettori nelle redazioni del 1550 e 1568, hg. For the anecdote's impHcations in Vasari's biography, see Norman Land, "Dante, Vasari, and Michelangelo's Piet? Vasari is referring to the loggia of the Villa Farnesina and Vatican … Vasari's ricordi, or entries to his commissions--along with the writings of Paola Barocchi followed by the studies of Julian Kliemann and Laura Corti, which are based on the collected letters documented in Karl Frey's epistolary and Alessandro del Vita's inventories--explain the commissions. For another of Vasari's drawing on this subject, see C. E. Saumarez‐Smith, Renaissance and Baroque Drawings from the Collection of John and Alice Steiner (Cambridge, MA: Harvard University Press, 1977), 95, no. The Aramaic word for twin is didymus, from the Greek text of the Gospel of Saint John. 45 The next gloss confirms the story of the dream, but adds that Michelangelo had heard of it from others (i.e. Read "Architectural Painting: Giorgio Vasari's Altarpiece for the Monastery of Santa Maria Novella in Arezzo, Explorations in Renaissance Culture" on DeepDyve, the largest online rental service for scholarly research with thousands of academic publications available at your fingertips. People also read lists articles that other readers of this article have read. Loretta Dolcini (New York: Harry N. Abrams, 1993), catalog of the exhibition held at the Palazzo Vecchio in Florence and the Metropolitan Museum of Art in New York, 53–79. Go. It is later reinterpreted in Jacopo Voragine's Golden Legend. During the 1950s and early 1960s Paola Barocchi focused mainly on sixteenth-century artists, notably Michelangelo and Vasari. Artistic success originates from God, his divine inspiration, innate talent, diligence and hard work: Now the material in which God worked to fashion the first man was a lump of clay, and this was not without reason; for the Divine Architect of time and of nature, being wholly perfect, wanted to show how to create by a process of removing from, and adding to, material that was imperfect in the same way that good sculptors and painters do when, by adding and taking away, they bring their rough models and sketches to the final perfection for which they are striving. (Florence: G. C. Sansoni, 1984), 5: 524. My portal it en Menu Home; University Apri sottomenu. See FILETI … BALDINUCCI / RANALLI 1845-1847, see also Appendix, entry n. 2. Con vna breue memoria di tutti del Disegno in Fiorenza, et per tutta Italia, et Europa, & delle artefici antichi, … Florian Härb believes the Uffizi sheets to be later copies after Vasari's original drawings . Giorgio Vasari pittor, et architetto aretino. See also Hall, Renovation and Counter‐Renovation, 144. In addition, Christ's gesture with His fingers alludes to His being the Second person of the Trinity. Giorgio Vasari, Le vite de’ più eccellenti pittori, …, Venice 1537, in Scritti d’arte del Cinquecento, ed. Find more information about: OCLC Number: 8710824: Description: 33 pages 18 cm. Versione e-book tratta dalla serie di CD-ROM "La letteratura italiana Einaudi" (o "La grande letteratura italiana … COVID-19 Resources . 28 Vasari, Le vite (Bettarini and Barocchi), 1: 11. Ref. The biblical narrative of the Incredulity of Thomas, also known as the Doubting of Thomas, is first reported in the Gospel of Saint John 11:16; 20:24–29; and 21:2. Google Scholar Depicting Descriptions,” ed. 10 Vasari, Vasari on Technique, 246, n. 1, citing from Vitruvius’s Architecture (De ar- chitectura, 7, 5); and see Vasari, Le vite, ed. Edizione di riferimento: Le vite de’ più eccellenti architetti, pittori, et scultori italiani, da Cimabue insino a’ tempi nostri. in all. 15 For a discussion on the corresponding modello of this painting, also located at the Musée du Louvre in the Dèpartement des Arts graphiques (Inv. Florence, Palazzo Vecchio: according to Vasari, M. painted "la maggior parte degli ornamenti di venti diverse stanze ... e le fregiature del palco della sala maggiore" and decorated the principal cortile for the entry of Joanna of Austria (see Barocchi, p. 278). Vasari mentions two other portraits produced by Michelangelo, of the children of his servant, Urbino (identified by de Tolnay as being de Tolnay 330r and 331v). See also J. C. J. Metford, Dictionary of Christian Lore and Legend (London: Thames and Hudson, 1983), 110, for the symbolism of a girdle alluding to chastity. Michelangelo tra le due redazioni delle Vite vasariane (1550-1568). [9] Many have written on the inconsistencies and the variants of the Giuntina, starting from Rosanna Bettarini in her Premise to the critical edition Bettarini-Barocchi of Vasari’s Lives. Sono stati adottati i seguenti criteri: controllo sui documenti; semplificazione della ortografia; revisione della punteggiatura; aggiornamento della bibliografia; rispetto della successione cronologica proposta dai Frey, con l’indicazione della carta del documento, messa a confronto, sulla bibliografia, … 11 Vasari, Vasari on Technique, 247 and n. 3; Vasari, Le vite, ed. Registered in England & Wales No. The 1568 edition includes a separate biography for "Lorenzo Costa" (the same Cossa-Costa conflation with a … 1, p. 666; Marjorie Och, “Venice and the Perfection of the Arts”, in The Ashgate Research Companion to Giorgio Vasari, David Cast ed., Aldershot 2014, pp. Search for Library Items Search for Lists Search for Contacts Search for a Library. 1644). 2 Anna Forlani, Mostra del disengno italiano di cinque secoli (Florence: G. Sansoni, 1961), 54, fig. Old Master & British Drawings Lot No. (37) Vasari-Barocchi, 1:118. "Le vite de' piú eccellenti pittori, scultori ed architetti" di Giorgio Vasari. Among the more than 160 uomitti valenti whose lives and works are included in the second edition of Giorgio Vasari's Le vite de’ più eccellentipittori, scultori et architettori, 1568, are several women: Properzia De’ Rossi (c. 1490-1530), Suor Plautilla Nelli (1532-1587/88), Lucrezia Quistelli, who was “taught by Alessandro Allori,” Sofonisba Anguissola (c. 1532-1625), and her sisters Lucia (c. 1540-c. 1565) and … University Intranet My e-mail My e-mail. (Frankfurt am Main: V. Klostermann, 1940–1954), 1: 580. 443; Alessandro Nova, “Salviati, Vasari, and the Reuse of Drawings in the Working Practice,” Master Drawings 30 (Spring 1992), 83–108, figs. For information regarding the drawings for this commission, see Paola Barocchi, Vasari pittore (Milan: Club del Libro, 1964), 144, for the drawing at the Galleria dei Disegni e delle Stampe at the Galleria degli Uffizi (Inv. Cited by lists all citing articles based on Crossref citations.Articles with the Crossref icon will open in a new tab. 22 Cooper, Symbols, 72. 126. Aller. Share With … For Vasari, God is identified as an artist and teacher who studies and observes nature. Jan L. de Jong, in Visual Resources 19, no. 1484; Inv. 6, and Karl Frey, ed., Der literarische Nachlass Giorgio Vasaris, 3 vols. 11 John Rawls, A Theory of Justice (Oxford: Oxford University Press, 1999), 3, and Liana De Girolami Cheney, “Giorgio Vasari's Astraea: A Symbol of Justice,” in Describing Depictions vs. 26 Barocchi, Vasari pittore, 144; Hall, Renovation and Counter‐Reformation, 144; and Borghini's letter of October 19, 1572, in Frey, Nachlass Giorgio Vasaris, 2: 706. Suggested Lots. 55 Cap. … 4 Vasari-Barocchi, pp. Laboratories of art and alchemy were placed side by side by the Grand Dukes Francesco I and Ferdinando I de’ Medici (1587–1609) to facilitate collaboration between artists and … Si propone il Carteggio di Giorgio Vasari curato da Karl Frey ed edito dal figlio Herman-Walther tra il 1923 e il 1940. No. 10 Butterfield, “The Christ and St. Thomas of Andrea del Verrocchio,” 64. 2 Parts, 5 vols. Old Master & British Drawings Lot No. II: text vol., 686 pp., L.30,000; 2 commentary vols., 286 pp., L. 15,000 each, /doi/pdf/10.1080/00043079.1972.10789399?needAccess=true. Giorgio Vasari il Giovane, ‘Porte e Finestre di Firenze e di Roma‘, edited by Franco Borsi ‘Variorum Architectorum Delinationes Portarum et Fenestrarum, Quae in Urbe Florentiae Reperiuntur’ (anonymous), edited by Luigi Zangheri . Florian Härb believes the Uffizi sheets to be later copies after Vasari's original drawings . 9 Margaret R. Miles, Images as Insight (Boston: Beacon Press, 1985), 108–13, on the Catholic Reform, and 118–22, on the employment of images for education and propaganda during the Roman Catholic Reform. Suggested Lots. Bruce M. Metzer and Michael D. Coogan (Oxford: Oxford University Press, 1993), 743. 65 (Inv. ACCÉDER AU LOT. Antonia di Paolo di Dono (1456–1491) was the daughter of Paolo di Dono, nicknamed Uccello, a well-known early Renaissance Florentine painter. Kevin Knight (New York: Thomas More, 1981), Section 17:2, ad 1:um. Secondo, et vltimo volume dalla terza parte. 24 Forlani, Mostra del disegno italiano, 54, fig. 29 Maurizio Calvesi, “Caravaggio and Caravaggismo,” in Art e Dossier 68 (May 1992), 35. 30 Miles, Image as Insight, 121, and Hall, Renovation and Counter‐Reformation, 13. People also read lists articles that other readers of this article have read. See also F. L. Cross, ed., The Oxford Dictionary of the Christian Church (Oxford: Oxford University Press, 1983), 570, the girdle as liturgical attire alludes as well to spiritual watchfulness. Kallab 1908; Vasari - Bettarini/Barocchi 1966-1987; Boase 1979; Rubin 1995; Barolsky 1996; Vasari - Nova 2004-2015; Hope 2005; Blum ... Jul 21th, 2020OPTIONAL CONTINUOUS STUDENT LEARNING AT HOMEInspiring-your-child-to-learn-and-love-math#module-04 Take The Time To View Or Download The Videos And Documentation That Applies To The Age Group You Are Interested In. My e-mail for students ; My e-mail for staff; Close. For a complete reproduction of the letters, see Hall, Renovation and Counter‐Reformation, 144–45. Fig. Bettarini and Barocchi, 3, part 1, 1971: 419-420), Vasari provides further information, noting that the chapel was dedicated to Saint Vincent and that the predella, which Vasari considered of higher quality than the rest of the altarpiece, was painted by Ercole. Hall, Renovation and Counter‐Reformation: Vasari and Duke Cosimo in Sta Maria Novella and Sta Croce, 1565–1577 (Oxford: Oxford at Clarendon Press, 1979), 6, and Glenn W. Most, Doubting Thomas (Cambridge, MA: Harvard University Press, 2005), 28–68. Uffizi, inv. 2 Parts, 5 vols. For Vasari, God is identified as an artist and teacher who studies and observes nature. For additional discussion, see Michael D. Coogan, “Thomas,” in The Oxford Companion to the Bible, ed. 4 Hall, Renovation and Counter‐Reformation, 144. Invalid. 7 Jacobus de Voragine, The Golden Legend: Readings on the Saints, 2 vols., trans. ; commentary vol., 418 pp. v. R. Bettarini/P. in Rome," in (?Visibile Parlare": Dante and the Art of the Italian Renaissance, ed. The date for the commission is probably 1570. 19 Vasari, Le vite (Bettarini and Barocchi), 5: 524. Paola Barocchi, Florence, Sansoni, 1966–69. The catalogues (1962–64) of the former’s drawings in the Casa Buonarroti, the Uffizi and the Archivio Buonarroti were outstanding models of order, care and thoroughness that offered new and valuable research tools. 1 Marcia B. 154-55. 26 Barocchi, Vasari pittore, 144; Hall, Renovation and Counter‐Reformation, 144; and Borghini's letter of October 19, 1572, in Frey, Nachlass Giorgio Vasaris, 2: 706. Both artists lead the viewer to focus on and understand Thomas's spiritual conversion. 4 (December 2003): 283–305. Summary This chapter contains sections titled: Defining the Subject Scope and Content Historiography Conclusion References and Further Reading: The History of Early Modern Art History - De' cinque ordini d'architettura: rustico, dorico, ionico, corinto, composto, e del lavoro … Online version: Barocchi, Paola. 7086F, 7084F, 7093F, 7083F; see P. Barocchi, Vasari Pittore, Milan 1964, p. 134, 49a, 49b, 50a, 50b, reproduced. Istoria delle Pietre by Agostino del Riccio, edited by Paola Barocchi, Florence: SPES … 17 Giorgio Vasari, Le vite de' più eccellenti pittori, scultori e archittetori, ed. Giovan Battista Belluzzi, ‘Il Trattato delle Fortificazioni di Terra‘, edited by Daniela Lamberini. Fig. By closing this message, you are consenting to our use of cookies. 92 or Inv. However, the word didymus refers not to a biological condition, but rather to an intellectual status of doubt or skepticism.This etymology was popularized in the West by Saint Jerome in his Liber de nominibus hebraicis. R. Barocchi, Milan and Naples 1971, iii, p. 2625: ‘Qualche Bettarini and P. Barocchi, Florence 1966–, i, p. 144 fiata si può fare una figuretta finta di cameo, o altra (both in the 1550 and the 1568 edition). 18 Roseline Bacou and Françoise Viatte, Italian Renaissance Drawings from the Musée du Louvre, Paris: Roman, Tuscan and Emilian Schools, 1500–1575 (New York: Metropolitan Museum of Art, 1975), entry 65, citing the inventories for the painting and drawings, Inv. 75-94. perhaps not from Cardiere himself), and had predicted the flight of the Medici from comments made to him by various Florentines "che ne haveva sentore da … II. These accounts and historical notations assist in visualizing Vasari's original design of these chapels, since they have been … 27 Hall, Renovation and Counter‐Reformation, 13–15. Gaetano Milanesi, 9 vols. 8 Alexander Jones, ed., The Jerusalem Bible (New York: Doubleday & Company, Inc, 1968), “The New Testament,” 151, and Most, Doubting Thomas, 28–29 and 66–68. Antonia was recorded in the Libro dei Morti (Book of the Dead) of the painter's guild, Arte dei Medici e Speziali, as a "pittoressa." According to his Ricordanze, Giorgio Vasari (1511–1574) received the commission in 1569 to create a new chapel containing a painting of the Incredulity of Saint Thomas from two Florentine brothers, Tommaso and Francesco Guidacci (active 1565–1575). Tesi online; Titulus; UniboImmagine ; U-Web Reporting - Projects Accounting Reporting; Virtuale; See all; Close. 31.139, Inv. Recently Joannides has given the … Her writings of that time on Vasari as a painter, draughtsman and … Recommended articles lists articles that we recommend and is powered by our AI driven recommendation engine. - Delle diverse pietre che servono agl'architetti per gl'ornamenti e per le statue della Scultura. 63, and Corti, Giorgio Vasari, 300, fig. Giorgio Vasari writes of Bronzino, “sopra tutto (quanto alla poesia) è maraviglioso nello stile e capitoli bernieschi, intantoché non è oggi chi faccia in questo genere di versi meglio, né cose più bizarre e capricciose di lui, come un giorno si vedrà, se tutte le sue opere, come si crede e spera, si stamperanno,” in Giorgio Vasari, Le vite de’ più eccellenti pittori scultori e architettori nelle redazioni del 1550 e 1568, … Bettarini and Ba- rocchi, 1:145. 12 Butterfield, “The Christ and St. Thomas of Andrea del Verrocchio,” 53–79, fig. These accounts and historical notations assist in visualizing Vasari's original design of these chapels, since they have been subject to many transformations and renovations through the years (Vasari 102-3; Frey 471-73, 475-76 and 882; Barocchi 68-70; Kleimann 96-7; Corti 138-40).6 The themes of chapels honor the triumphs of Saint Michael, Saint Peter Martyr, and Saint Stephen Martyr. Giorgio Vasari, The Conversion of Saul, Cortona, Compagnia di Ges ù. 1644, and Jacob Inv I, no. - Che cosa sia il lavoro di quadro semplice et il lavoro di quadro intagliato. In the 1568 edition of the Lives (ed. Rosanna Bettarini, intro. WorldCat Home About WorldCat Help. Uffizi, inv. 20 Further comparison with Verrocchio and Vasari reveals how Vasari expands the number of figures from Verrocchio's composition.