Portrait Cultures of the Early Modern Cardinal

Cover -- Table Of Contents -- Abbreviations -- Acknowledgements -- Introduction -- Cardinals And Their Images -- 1. Portraying The Princes Of The Church -- Piers Baker-bates And Irene Brooke -- 2. The Early Modern Cardinal -- An Historical Appraisal -- Miles Pattenden -- Part I. Individuality And Identity -- Florence And Rome -- 3. Visual And Verbal Portraits Of Cardinals In Fifteenth-century Florence -- Brian Jeffrey Maxson -- 4. Dead Ringers -- Carol M. Richardson -- Part Ii. Divided Loyalties -- Venice And Rome -- 5. The Role Of Cardinals' Portraits In Venice -- Sarah Ferrari 6. Role Playing -- Alessandra Pattanaro -- Part Iii. Collecting And Display -- Portraits And Worldly Goods -- 7. Renaissance Cardinals And Pontifical Mules -- Philippa Jackson -- 8. Portraits As Symbols -- Thomas-leo True -- 9. Portraits As A Sign Of Possession -- Arnold Witte -- Part Iv. Post-tridentine Piety -- The Devout Cardinal -- 10. Group Portraits Of Cardinal Bembo And His Friends In The Wake Of Trent -- Irene Brooke -- 11. Two Cardinal Portraits By Scipione Pulzone In The Harvard Art Museums And Their Related Versions -- Danielle Carrabino 12. Miracle-working Portraits Of A Cardinal Saint -- Minou Schraven -- Conclusion -- Cardinal Portraits Beyond Italy -- 13. Portraying The Ideal Spanish Tridentine Prelate -- Piers Baker-bates -- Index -- Illustrations -- Colour Plates -- Plate 1 Bastiano Di Niccolò, Matteo And Bartolomeo Torelli, Historiated Initial And Border With Angeloacciaiuoli's Portrait From The Cardinal's Missal, 1402-1405, Ms. 30, Cambridge, The Fitzwilliam Museum(© The Fitzwilliam Museum, Cambridge). Plate 2 Titian, Cardinal Pietro Bembo, C. 1540, Oil On Canvas, Washington, Dc, The National Gallery Of Art (©national Gallery Of Art, Washington). -- Plate 3 Unknown Artist (palma Il Giovane?), Double Portrait Of Cardinals Domenico And Marino Grimani, Latesixteenth Century, Oil On Canvas, Venice, Gallerie Dell'accademia (© Gallerie Dell'accademia Di Venezia).plate 4 -- Plate 3 Unknown Artist (palma Il Giovane?), Double Portrait Of Cardinals Domenico And Marino Grimani, Latesixteenth Century, Oil On Canvas, Venice, Gallerie Dell'accademia (© Gallerie Dell'accademia Di Venezia). Plate 4 Raphael, Meeting Of Leo I With Attila, 1514, Fresco, Vatican City, Musei Vaticani (© Scala). -- Plate 5 Leandro Bassano, Honorius Iii Approving The Rule Of St. Dominic In 1216, 1607-1608, Oil On Canvas,venice, Santi Giovanni E Paolo, Sacristy (© Venice, Fondazione Giorgio Cini-matteo De Fina).plate 6 -- Plate 5 Leandro Bassano, Honorius Iii Approving The Rule Of St. Dominic In 1216, 1607-1608, Oil On Canvas,venice, Santi Giovanni E Paolo, Sacristy (© Venice, Fondazione Giorgio Cini-matteo De Fina). Edited By Piers Baker-bates And Irene Brooke. Description Based Upon Print Version Of Record. Plate 6 Detail Of Leandro Bassano, Honorius Iii Approving The Rule Of St. Dominic In 1216, 1607-1608, (© Venice,fondazione Giorgio Cini-matteo De Fina). Includes Bibliographical References And Index. Electronic Reproduction. Baltimore, Md Available Via World Wide Web.