806 wolfgang wolters
Book Illumination and Illustration: Giordana Mariani canova, La
miniatura veneta del Rinascimento (Venice, 1969). Lilian Armstrong:
Renaissance Miniature Painters and Classical Imagery (London, 1981).
Bronzes: Victoria Avery, “State and Private Bronze Foundries in
cinquecento Venice: new Light on the Albeghetti and conti Workshops,”
in Pete Motture, ed., Large Bronzes in the Renaissance (new Haven/London,
2003), pp. 241–75; eadem, “the Production, Display and reception of Bronze
Heads and Busts in renaissance Venice and Padua: Surrogate Antiques,”
in Kopf/Bild. Die Büste in Mittelalter und früher Neuzeit (Munich/Berlin,
2007), pp. 75–112. Matteo ceriana and Victoria Avery, eds., L’industria
artistica del bronzo del Rinascimento a Venezia e nell’Italia settentrionale
(Verona, 2008).
Ceiling Painting: Wolfgang Schöne, “Die Bedeutung der Schrägsicht für
die Deckenmalerei des Barock,” in Martin Gosebruch, ed., Festschrift für Kurt
Badt zum siebzigsten Geburtstag (Berlin, 1961), pp. 144–72. Juergen Schulz,
Venetian Painted Ceilings of the Renaissance (Berkeley/Los Angeles, 1968).
Collections: irene Favaretto, Arte antica e cultura antiquaria nelle
collezioni venete al tempo della Serenissima (rome, 1990). Michael
Hochmann, rosella Lauber, and Stefania Mason, eds., Il collezionismo
d’arte a Venezia: Dalle Origini al Cinquecento (Venice, 2008).
Comprehensibility of the Images, Painting Agenda, the Role of Artists
and the Liberties of Interpreters: Knowledge of the subsequently named
works appears helpful to me with regard to the use of images in connection
with historical investigations: charles Hope, “Veronese and the Venetian
tradition of Allegory,” Proceedings of the British Academy 71 (1985), 389–
428; elisabeth McGrath, “ ‘il senso nostro’: the Medici Allegory Applied
to Vasari’s Mythological Frescoes in the Palazzo Vecchio,” in Gian carlo
Garfagnini, ed., Giorgio Vasari tra decorazione ambientale e storiografia
artistica (Florence, 1985), pp. 117–34; Julian Kliemann, “Programme,
inschriften und texte zu Bildern. einige Bemerkungen zur Praxis der
profanen Wandmalerei des cinquecento” [A Few reflections on the
Practice of the Profane Wall-painting of the cinquecento], in Wolfgang
Harms, ed., Text und Bild, Bild und Text (Stuttgart, 1990), pp. 79–95;
idem; “Programme ou interprétation? A propos des fresques de Vasari
à la cancelleria,” in Sylvie Deswarte-rosa, ed., A travers l’image. Lecture
iconographique et sens de l’oeuvre (Paris, 1991; Klincksieck, 1994), pp. 75–92;
Paolo Berdini, The Religious Art of Jacopo Bassano (cambridge, 1997);
thomas Frangenberg, “ ‘One could invent not one but a hundred further
meanings.’ Francesco Bracciolini and the early State of Pietro da corona’s