803:
42:
537:('Lives', 1672) — a basic source for the history of 17th-century art — includes a selection of artists, on whom he had been collecting material from the 1640s. Some are Roman and others claimed for the Roman school, and the biographies are introduced by a scholarly apologia on idealization. His friend Carlo Maratta contributed funds for the posthumous publication of Bellori's
956:
Admiranda
Romanarum antiquitatum ac veteris sculpturae vestigia : anaglyphico opere elaborata ex marmoreis exemplaribus quae Romae adhuc extant in Capitolio, aedibus hortisque virorum principum ad antiquam elegantiam a Petro Sancti Bartolo delineata, incisa. In quibus plurima ac praeclarissima
733:
or design, at that time seen as the most important artistic element, is tied up in the concept of 'prudence'. An artist's work could essentially be seen as a series of choices, and the wisdom of these choices was owed to the character or 'prudence' of the artist. This forms the basis of subsequent
351:
among his paintings). Angeloni fostered in
Bellori an interest in collecting and interpreting antiquities, and indeed his interest in the antique was pivotal to his whole career. On his death in 1652, Angeloni designated Bellori as his sole heir, but the will was invalidated by Angeloni's brothers,
864:
Colonna
Traiana eretta dal senato, e popolo romano all'imperatore Traiano Augusto nel suo foro in Roma. Scolpita con l'historie della guerra dacica la prima e la seconda espeditione, e vittoria contro il re Decebalo. Nuovamente disegnata, et intagliata da Pietro Santi Bartoli. Con l'espositione
746:
in his duties as papal
Commissario delle AntichitĂ (contributing much of the commentary to Agostini's gem collection), and in 1670 he took up the post himself, holding it for the next 24 years while undertaking an astonishing programme of further publications. These were at first sponsored by
802:
939:
Le antiche lucerne sepolcrali figurate raccolte dalle caue sotterranee, e grotte di Roma, nelle quali si contengono molte erudite memorie disegnate, ed intagliate nelle loro forme da Pietro Santi
Bartoli divise in tre parti con l'osservationi di Gio. Pietro
903:
Nunc Primum A Petro Sancti
Bartolo, Iuxta Delineationes In Bibliotheca Barberina Asservatas, A Se Cum Antiquis Ipsius Columnae Signis Collatas, Aere Incisa Et In Lucem Edita, Cum Notis Excerptis Ex Declaralionibus Io. Petri Bellorii. Rome
474:, «Bellori is deservedly famous for his knowledge of the Greek and Egyptian antiquities and for all that belongs to the mythologies and superstitions of the Heathens». Burnet included him in a list of the most learned men he met in Rome:
771:(1635–1700), who had also worked for Massimo, he produced a hugely successful series of corpora, illustrated by Bartoli's engravings. An edition of prints of ancient bas-reliefs had already appeared by 1677, to be followed by the
900:
Columna
Antoniniana Marci Aurelii Antonini Augusti Rebus Gestis Insignis: Germanis Simul, Et Sarmatis, Gemino Bello Devictis Ex S. C. Romae In Antonini Foro, Ad Via Flaminia, Erecta, Ac Utriusqve Belli Imaginibus Anaglyphice
363:, who visited Bellori in 1665, noted, "he draws pictures and makes good landskips", and as late as 1689 when Bellori was admitted to the French Academy he was listed as a painter. He became a member of the
352:
who sold off most of the collection, leaving
Bellori with the house on the Pincio, located on the via Orsina near the church of Sant'Isidoro, where he had grown up and in which he lived all his life.
307:, published in 1672, was influential in consolidating and promoting the theoretical case for classical idealism in art. As an art historical biographer, he favoured classicising artists rather than
794:'s one published work, a study of the image Ephesian Diana, based on examples in his own collection appeared close to twenty years after his death, also benefiting from Bellori's ministrations.
734:
value judgments in art by
Bellori and his contemporaries. Bellori and Agucchi, after Aristotle, equated the practice of idealism with prudent choice, and naturalism with poor prudence.
928:
Veteres Arcus
Augustorum triumphis insignes ex reliquiis quae Romae adhuc supersunt, cum imaginibus triumphalibus restituti, antiquis nummis notisque I. Petri Bellorii illustrati
299:
755:(1673), perhaps illustrated by himself, and one on Massimo's coin collection (1676). After Massimo's death in 1677, Bellori went on to catalogue rare coins in Cardinal
431:
near S. Isidoro, where he rebuilt the dispersed collection of Angeloni. Travellers' diaries and guidebooks confirm that Bellori had assembled a small but well-chosen
1274:(December 2006). "Giovan Pietro Bellori, the Lives of the Modern Painters, Sculptors and Architects: A New Translation and Critical Edition by Alice Sedgwick Wohl".
420:
By 1695 Bellori was very ill, suffering especially in his lower legs, and had not left his house since mid 1694. He died on 19 February 1696, and was buried in the
1633:
drawings, published by Giovanni Giacomo de' Rossi in 1674, with a text by Giovanni Pietro Bellori. Metropolitan Museum of Art website, accessed 3 March 2015.
865:
latina d'Alfonso Ciaccone, compendiata nella vulgare lingua sotto ciascuna immagine, accresciuta di medaglie, inscrittioni, e trofei, da Gio. Pietro Bellori
1315:
He meant the classicising tendencies in Annibale's work; the more exuberant tendencies were picked up on by Baroque artists such as Pietro da Cortona.
790:
published nothing, and when they did, like Agostini, it was usually a promotional catalogue of their own collection or just one or two items from it.
1324:
The work, which grouped the gems according to the themes represented, was translated into Latin by Jakob Gronovius, and published in Amsterdam, 1685.
1549:
Sparti, Donatella Livia (2001). "Giovan Pietro Bellori and Annibale Carracci's Self-Portraits. From the "Vite" to the Artist's Funerary Monument".
1118:
521:(1664) catalogued private and ecclesiastical libraries and collections in Rome and included the first detailed study of ancient painting. His
779:, discovered in 1674 (published 1680), the triumphal arches of Rome in 1690, ancient funerary lamps in 1691-8 and ancient burials in 1697.
470:, who met Bellori in Rome in 1675, considered him «très savant en toutes sortes d'antiquités». According to another famous visitor, Bishop
530:
1860:
1714:
1693:
1845:
1840:
1875:
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the artists he most admired were Domenichino and Nicolas Poussin; his friend the sculptor Alessandro Algardi was praised while
413:, the Florentine writer on art, who visited Rome in 1681 on the occasion of the Queen's commission to him for a biography of
319:
Bellori was born in Rome on 15 January 1613, the son of Giacomo, a farmer. He was reared and educated by his maternal uncle,
1682:
1668:
1405:
823:
Il Bonino, ovvero avvertimenti al Tristano intorno agli errori nelle medaglie del primo tomo de' suoi Commentari historici
968:
Roma: Antonio de Rossi, 1699. This work was translated into Latin by Alexander Duker, and published at Leyden, 1702, fol.
1663:
1092:
501:
Bellori was one of the most important intellectuals of seventeenth-century Italy. He was the author of several learned
289:
146:
1865:
1835:
1754:
1542:
1517:
1336:, “Archaeologies, Antiquaries and the Memorie of Sixteenth-and Seventeenth-Century Rome,” in Ilaria Bignamini (ed.),
1068:
1038:
971:
644:. The life of Maratta was published in 1732 and the three biographies together, edited from his manuscript, in 1942.
601:
917:
La Historia Augusta Da Giulio Cesare infino a Costantino il Magno. Illustrata Con la veritĂ delle Antiche Medaglie
891:
Fragmenta vestigii veteris Romae ex lapidibus Farnesianis: Nunc primum in Iucem edita cum notis Io. Petri Bellorii
1870:
1830:
1795:
791:
355:
Bellori had been keenly interested in art since childhood. As a young man, he took art lessons from the painter
573:). Since then it has acquired almost canonical status as one of the earliest declarations of the principles of
421:
360:
105:
1738:
1850:
1825:
1820:
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by 1652 and was Secretary 1652–3, 1666, and 1668–72. Bellori was a close friend of many artists, including
816:
Icones et segmenta illustrium e marmore tabularum quae Romae adhuc extant a Francisco Perrier delineata...
565:. In 1672 he published this as a preface to his biographies of recent and contemporary artists, entitled:
1805:
1570:
Raben, Hans (2006). "Bellori's Art: The Taste and Distaste of a Seventeenth-Century Art Critic in Rome".
957:
ad Romanam historiam, veteres mores dignoscendos, ob oculos ponuntur. Notis Io. Petri Bellorii illustrata
380:
1303:
Le vite inedite del Bellori: I. Giovan Pietro Bellori, vite di Guido Reni, Andrea Sacchi e Carlo Maratti
1815:
1098:
1030:
460:
246:
1767:
1503:
584:
is one of the foundational texts of the history and criticism of European art. It covers the brothers
1800:
1742:
1638:
869:
772:
764:
685:
406:
207:
1594:(2008). ""Spirito abile" ed "Elevatissimo ingegno". Giovan Pietro Bellori e Carlo Cesare Malvasia".
972:
Michel-Ange de La Chausse; Pietro Sante Bartoli; Giovanni Pietro Bellori; Francesco Bartoli (1738).
680:. This famously led to Bellori's reverence of the painting of Annibale Carracci and repudiation of
491:
311:
artists to the extent of omitting some of the key artistic figures of 17th-century art altogether.
443:, Maratta and Annibale Carracci, amongst others. After his death, his collection was purchased by
41:
1810:
1722:
1643:
de Giovanni Pietro Bellori (1672) : entre valorisation et dispersion du patrimoine vasarien"
1424:
Heres, Gerald (1979). "Winckelmann, Bernini, Bellori. Betrachtungen zur "Nachahmung der Alten"".
487:
17:
1453:
Perini, Giovanna (1989). "L'arte di descrivere: La tecnica dell'ecfrasi in Malvasia e Bellori".
1354:
1246:
Some Letters Containing, an Account of what Seemed Most Remarkable in Switzerland, Italy, &c
448:
444:
395:
372:
862:
759:'s library, and then those belonging to Queen Christina of Sweden, for whom he also served as
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1054:
1022:
693:
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510:
364:
187:
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376:
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945:
This work was translated into Latin by Alexander Duker, and published at Leyden, 1702, fol.
768:
483:
414:
340:
251:
668:, by the robust classicism of those following Annibale Carracci's lead. Bellori advocated
8:
1615:
954:
926:
1603:
1579:
1558:
1478:
1470:
1441:
1283:
625:
621:
613:
475:
410:
320:
287:, was an Italian art theorist, painter and antiquarian, who is best known for his work
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treatises, widely respected by later antiquarians and reprinted in great part in the
394:
in Rome, M. Parisot on a long trip through Southern Italy. He became a member of the
202:
1420:. Centro di Ricerche Informatiche per i Beni Culturali della Scuola Normale di Pisa.
720:. Bellori often relied for his facts on the earlier biographies of Roman artists by
561:
In 1664 Bellori delivered an influential speech to the Accademia di San Luca on the
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1023:
George Alexander Kennedy; H. B. Nisbet; Claude Rawson; Raman Selden, eds. (1989).
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1490:
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1374:
1350:
1338:
Archives and Excavations, Archaeological Monographs of the British School at Rome
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1024:
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632:. Bellori planned a work on Bolognese artists, but, only completed entries for
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192:
1779:
1622:
1152:
Die Kunstliteratur: Ein Handbuch zur Quellenkunde der neueren Kunstgeschichte
1114:
713:
709:
641:
637:
542:
384:
135:
127:
47:
1591:
1110:
948:
935:
924:
920:(2 ed.). a spese di Felice Cesaretti libraro all'Insegna della Regina.
860:
776:
661:
428:
94:
72:
894:(in Latin). Rome: typis Iosephi Corvi, sumptibus Ioannis Iacobi de Rubeis.
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and its reliefs in 1679, the paintings in the Tomb of the Nasonii on the
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332:
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1607:
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1105:. Winckelmann's theory of the "ideally beautiful" as he expounds it in
1102:
681:
633:
574:
467:
436:
115:
960:(in Latin). Romae: sumptibus ac typis edita a Joanne Jacobo de Rubeis.
339:, 1641) and collector of art, antiquities and natural history (he had
1125:(to which Winckelmann also owes his acquaintance with the letters of
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665:
391:
182:
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1625:(1640–1692/1700), after a drawing by Carlo Maratti, frontispiece to
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1437:
1674:
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Gli antichi sepolcri overo mausolei romani... trovati in... Roma...
842:
Notae in numismata tum Ephesia, tum aliarum urbium apibus insignita
669:
1109:, IV.2.33 ff., thoroughly agrees—except for the somewhat stronger
1126:
1113:
impact, which is to be explained perhaps more as an influence of
729:
705:
657:
456:
308:
119:
522:
348:
328:
1647:
LECEMO - les Cultures de l'Europe Méditérranéenne Occidentale
880:
Vite de' Pittori, Scultori et Architetti Moderni, Parte Prima
452:
409:
from 1677 to 1689. While serving Christina, he certainly met
177:
1533:, sixth edition in 3 volumes, revised by Joseph Connors and
1618:
Annibale Carracci Introduces Painting to Apollo and Minerva
1060:
Malvasia's Life of the Carracci: Commentary and Translation
571:
The lives of the modern painters, sculptors, and architects
390:
In the spring of 1661 he accompanied the representative of
90:
68:
1155:. Vienna: Kunstverlag Anton Schroll & Co. p. 423.
914:
Francesco Angeloni (1685). Giovanni Pietro Bellori (ed.).
975:
Picturae antiquae cryptarum romanarum et sepulcri Nasonum
405:
on 31 May 1670. Bellori was librarian and antiquarian to
1596:
Mitteilungen des Kunsthistorischen Institutes in Florenz
1551:
Mitteilungen des Kunsthistorischen Institutes in Florenz
786:
by any definition. Unlike him, most seventeenth-century
539:
Descrizzione delle imagini dipinte de Raffaelle d'Urbino
1300:
978:(in Latin). Roma: ex typographia S. Michaelis ad Ripam.
887:
1572:
Simiolus: Netherlands Quarterly for the History of Art
1495:
Patrons and Painters: Art and Society in Baroque Italy
936:
Giovanni Pietro Bellori; Pietro Santi Bartoli (1691).
925:
Giovanni Pietro Bellori; Pietro Santi Bartoli (1690).
861:
Giovanni Pietro Bellori; Pietro Santi Bartoli (1667).
931:(in Latin). Romae: Ad templum Sanctae Mariae de Pace.
157:
Giacomo Bellori and Artemetia Bellori (née Giannotti)
1747:
Encyclopedia of the History of Classical Archaeology
1512:. Vol. 3. London: Macmillan. pp. 673–675.
279:(15 January 1613 – 19 February 1696), also known as
567:
Le vite de’ pittori, scultori et architetti moderni
293:, considered the seventeenth-century equivalent to
1135:Anmerkungen zur Geschichte der Kunst des Altertums
913:
807:Columna Cochlis M. Aurelio Antonino Augusto dicata
943:. Rome: nella stamperia di Gio. Francesco Buagni.
525:'On Painting' was published in 1642 to introduce
1777:
1497:. 1980. Yale University Press. pp. 158–161.
898:Giovanni Pietro Bellori e Pietro Santi Bartoli,
401:He was appointed Commissario delle AntichitĂ by
305:Vite de' Pittori, Scultori et Architetti Moderni
1373:
1349:
964:Pietro Santi Bartoli, Giovanni Pietro Bellori,
708:was not mentioned and he included the painters
1133:); he frankly recognizes this indebtedness in
225:Classical archaeology, art history, aesthetics
1248:. Amsterdam: Abraham Acher. pp. 230–232.
1148:
684:. His writing of the 'Idea' is influenced by
656:ideal had been rescued from the tangled post-
1101:" not only as an antiquarian but also as an
1026:The Cambridge History of Literary Criticism
853:, Romae 1660 e 1688, e in Jakob Gronovius,
451:. Bellori's collection of ancient gems and
1719:The Oxford Companion to Italian Literature
1614:Heilbrunn Timeline of Art History (2010).
1455:I Tatti Studies in the Italian Renaissance
549:and the Loggia of Cupid and Psyche in the
40:
1712:
1215:
1213:
847:Expositio symbolici deae Syriae simulacri
1636:
1165:
1142:
1083:
1053:
801:
1736:
1691:
1661:
1531:Art and Architecture in Italy 1600–1750
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876:
832:(difesa dell'Angeloni attaccato per la
14:
1778:
1590:
1548:
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1243:
1219:
1210:
1173:. Padova: Edizioni di Ar. p. 124.
737:
1569:
1423:
1301:Michelangelo Piacentini, ed. (1942).
1258:
1149:Von Schlosser, Julius Ritter (1924).
1006:
1004:
1002:
1000:
998:
1669:Dizionario Biografico degli Italiani
1537:. New Haven: Yale University Press.
1501:
1183:
763:. In collaboration with the printer
1698:The Oxford Companion to Western Art
1675:Istituto dell'Enciclopedia Italiana
1305:. Rome: Biblioteca d'Arte Editrice.
742:By the late 1660s Bellori assisted
435:, with works attributed to Titian,
24:
1107:Geschichte der Kunst des Altertums
1093:University of South Carolina Press
995:
25:
1892:
1861:17th-century Italian male writers
1655:
877:Bellori, Giovanni Pietro (1672).
849:, in Claude-François Menestrier,
602:Michelangelo Merisi da Caravaggio
46:Gian Pietro Bellori, portrait by
1846:Italian male non-fiction writers
1380:Thesaurus antiquitatum graecarum
1356:Thesaurus antiquitatum graecarum
1063:. Penn State Press. p. 37.
888:Giovanni Pietro Bellori (1673).
855:Thesaurus graecarum antiquitatum
851:Symbolica Dianae Ephesiae statua
797:
1841:17th-century Italian historians
1749:. Routledge. pp. 140–142.
1671:, Volume 7: Bartolucci–Bellotto
1403:'Corpus informatico belloriano'
1367:
1343:
1327:
1318:
1309:
1294:
1264:
1252:
1237:
1225:
1121:—with the content of Bellori's
1097:Bellori is the "predecessor of
1876:Scholars from the Papal States
1627:Galeriae Farnesianae Icones...
1207:Wittkower 1999, vol. 2, p. 87.
1201:
1189:
1177:
1159:
1077:
1047:
1016:
908:Imagines veterum philosophorum
466:The famous French antiquarian
13:
1:
1881:Artists from the Papal States
1856:17th-century Italian painters
1769:Idea, A Concept in Art Theory
1713:Chiarelli, Francesca (2002).
1089:Idea: a Concept in Art Theory
983:
826:
1629:, a catalogue of Carracci's
314:
7:
1737:Cropper, Elizabeth (2015).
782:Bellori was an exceptional
381:Charles Alphonse du Fresnoy
27:Italian painter (1613–1696)
10:
1897:
1694:"Bellori, Giovanni Pietro"
1664:"BELLORI, Giovanni Pietro"
1504:"Bellori, Giovanni Pietro"
1031:Cambridge University Press
700:and others. In Bellori's
331:, dialogues and operas, a
1743:Nancy Thomson de Grummond
1739:"Giovanni Pietro Bellori"
1700:. Oxford University Press
1662:Donahue, Kenneth (1965).
1637:Cotensin, Ismène (2021).
1383:. Vol. XII. Leyden:
1359:. Vol. XII. Leyden:
949:Giovanni Pietro Bellori;
870:Giovanni Giacomo de Rossi
839:Giovanni Pietro Bellori,
821:Giovanni Pietro Bellori,
814:Giovanni Pietro Bellori,
773:Column of Marcus Aurelius
767:and the painter-engraver
765:Giovanni Giacomo de Rossi
686:Giovanni Battista Agucchi
407:Queen Christina of Sweden
270:
229:
221:
216:
170:
165:
161:
153:
141:
111:
101:
79:
54:
39:
32:
1866:Archaeologists from Rome
1836:17th-century biographers
1772:at Art History Resources
1715:"Bellori, Giovan Pietro"
1506:. In Jane Turner (ed.).
1426:Forschungen und Berichte
1244:Burnet, Gilbert (1686).
1117:than as an influence of
845:, Romae 1658 (rist. con
647:
616:, Domenico Zampieri (il
556:
541:(1696), which describes
463:'s vision of antiquity.
459:where they helped shape
1723:Oxford University Press
1692:Langdon, Helen (2001).
1276:The Burlington Magazine
727:Vasari's definition of
652:In Bellori's view, the
277:Giovanni Pietro Bellori
34:Giovanni Pietro Bellori
1871:Italian art collectors
1831:Biographers of artists
1796:Italian art historians
1055:Malvasia, Carlo Cesare
857:, VII, Venetiis 1735).
810:
716:, however, he omitted
449:Augustus III of Saxony
445:Frederick I of Prussia
373:Giovanni Angelo Canini
1509:The Dictionary of Art
1502:Pace, Claire (1996).
1493:(1993). "Chapter 6".
805:
694:Leon Battista Alberti
427:Bellori lived on the
365:Accademia di San Luca
281:Giovan Pietro Bellori
1851:Italian antiquarians
1673:(in Italian). Rome:
1649:. Sorbonne Nouvelle.
951:Pietro Santi Bartoli
769:Pietro Santi Bartoli
664:styles now known as
582:Lives of the Artists
422:Church of S. Isidoro
415:Gian Lorenzo Bernini
290:Lives of the Artists
147:Lives of the Artists
106:Church of S. Isidoro
1826:Italian art critics
1821:Italian biographers
1137:(1767), p. 36.
753:Severan Marble Plan
738:Archaeological work
455:found their way to
285:Gian Pietro Bellori
166:Academic background
1806:Painters from Rome
1408:2014-04-24 at the
1272:Cropper, Elizabeth
811:
626:Alessandro Algardi
622:Giovanni Lanfranco
614:Francois Duquesnoy
476:Raffaello Fabretti
411:Filippo Baldinucci
377:François Duquesnoy
321:Francesco Angeloni
1816:Writers from Rome
1527:Wittkower, Rudolf
1385:Petrus van der Aa
1361:Petrus van der Aa
883:. Rome: Mascardi.
744:Leonardo Agostini
722:Giovanni Baglione
718:Pietro da Cortona
590:Agostino Carracci
586:Annibale Carracci
533:'. Bellori's own
484:Francesco Nazzari
274:
273:
83:February 19, 1696
16:(Redirected from
1888:
1801:Baroque painting
1760:
1733:
1731:
1729:
1709:
1707:
1705:
1688:
1684:978-8-81200032-6
1650:
1611:
1587:
1578:(2/3): 126–146.
1566:
1535:Jennifer Montagu
1523:
1498:
1491:Haskell, Francis
1486:
1449:
1418:Tomaso Montanari
1416:, Sonia Maffei,
1389:
1388:
1371:
1365:
1364:
1347:
1341:
1334:Claridge, Amanda
1331:
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1229:
1223:
1217:
1208:
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1199:
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1187:
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1175:
1174:
1167:Baeumler, Alfred
1163:
1157:
1156:
1146:
1140:
1139:
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1044:
1020:
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1008:
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961:
944:
932:
921:
895:
884:
873:
834:Historia Augusta
831:
828:
818:, Parisiis 1645.
757:Gaspare Carpegna
749:Cardinal Massimo
610:Anthony van Dyck
598:Federico Barocci
594:Domenico Fontana
547:Apostolic Palace
496:Ludovico Maracci
461:J.J. Winckelmann
337:Historia Augusta
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65:January 15, 1613
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1557:(1/2): 60–101.
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1438:10.2307/3880817
1410:Wayback Machine
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1095:. p. 242.
1085:Panofsky, Erwin
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1033:. p. 110.
1029:. Vol. 4.
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1764:Erwin Panofsky
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1616:Commentary on
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1726:. Retrieved
1718:
1702:. Retrieved
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1602:(1): 73–82.
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1396:Bibliography
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1103:art theorist
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1011:Donahue 1965
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809:, Rome 1704.
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651:
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95:Papal States
85:(1696-02-19)
73:Papal States
1791:1696 deaths
1786:1613 births
1461:: 175–206.
1220:Sparti 2001
1119:Shaftesbury
1111:Neoplatonic
1099:Winckelmann
830: 1649
654:Renaissance
618:Domenichino
490:, Cardinal
486:, Cardinal
357:Domenichino
333:numismatist
325:antiquarian
247:Winckelmann
1780:Categories
1259:Raben 2006
1131:Guido Reni
984:References
792:MĂ©nestrier
784:antiquario
761:antiquario
682:Caravaggio
678:naturalism
634:Guido Reni
580:Bellori's
575:Classicism
468:Jacob Spon
437:Tintoretto
230:Influenced
222:Discipline
171:Influences
116:Biographer
61:1613-01-15
1483:178550112
1184:Pace 1996
1169:(1999) .
901:Insculpta
788:antiquari
698:Aristotle
666:Mannerism
515:Gronovius
507:Thesaurus
398:in 1689.
392:Louis XIV
341:Correggio
315:Biography
183:Aristotle
154:Parent(s)
132:historian
124:librarian
1608:30249347
1584:20355327
1563:27654540
1529:(1999).
1432:: 9–16.
1406:Archived
1288:20074653
1171:Estetica
1087:(1968).
1057:(2000).
953:(1693).
868:. Rome:
670:idealism
527:Baglione
511:Graevius
441:Van Dyck
329:comedies
262:Panofsky
257:Baeumler
242:Aglionby
203:Baglione
198:Angeloni
1745:(ed.).
1728:10 July
1704:10 July
1475:4603664
1446:3880817
1127:Raphael
940:Bellori
825:, s.l.
730:disegno
706:Bernini
674:realism
658:Raphael
545:in the
457:Dresden
433:gallery
345:Bassano
309:Baroque
208:Agucchi
188:Alberti
120:painter
18:Bellori
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690:Vasari
606:Rubens
517:. His
453:medals
349:Titian
303:. His
295:Vasari
237:Dryden
193:Vasari
1741:. In
1639:"Les
1604:JSTOR
1580:JSTOR
1559:JSTOR
1479:S2CID
1471:JSTOR
1442:JSTOR
1284:JSTOR
989:Notes
904:1675.
702:Lives
672:over
648:Views
557:Works
531:Lives
178:Plato
1751:ISBN
1730:2023
1706:2023
1679:ISBN
1641:Vite
1539:ISBN
1514:ISBN
1129:and
1123:Idea
1065:ISBN
1035:ISBN
660:and
640:and
628:and
588:and
535:Vite
529:'s '
523:poem
513:and
494:and
447:and
383:and
347:and
300:Vite
91:Rome
80:Died
69:Rome
55:Born
1463:doi
1434:doi
1280:148
676:or
620:),
509:of
297:'s
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872:.
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335:(
63:)
59:(
20:)
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