Bronzino's London Allegory and the art of syphilis

Oxford Art Journal

Volumn 20, Issue 1, 1997, Pages 3-11

  Healy, Margaret ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 63849311364     PISSN: 01426540     EISSN: None     Source Type: Journal    
DOI: 10.1093/oxartj/20.1.3     Document Type: Review

References (50)

1. M. Levey, 'Sacred and Profane Significance in two Paintings by Bronzino', Studies in Renaissance and Baroque Art presented to Anthony Blunt (London, 1967), pp. 30-33
2. M. Levey, The National Gallery Collection (London, 1987), p. 65
3. Levey's interpretation forms the basis of the National Gallery's micro gallery description of the painting. See also, C. McCorquodale, Bronzino (London, 1981), p. 89. In her public lecture on the Allegory in the National Gallery, August 1993, Frances Borzello stressed the primacy of Levey's exposition
4. L. Bosch, 'Bronzino's London "Allegory": Love versus Time', Source, vol. 9, 1990, pp. 30-35
5. E. Panofsky, Studies in Iconology (New York, 1939), pp. 86-91
6. P. Hendy, The National Gallery, revised edition 1971 (London, 1960), p.171
7. C. Hope, 'Bronzino's Allegory in the National Gallery', Journal of the Warburg and Courtauld Institutes, vol. 45, 1982, p. 239
8. J. F. Conway, 'Syphilis and Bronzino's London Allegory', Journal of the Warburg and Courtauld Institutes, vol. 49, 1986, pp. 250-255
9. Most notably, C. Quetel, History of syphilis (Cambridge, 1992)
10. and S. Gilman, Disease and Representation (Ithaca, 1988), pp. 248-258
11. G. Vasari, Le Vite de'pui eccellenti pittori, scultori ed architettori, ed. G. Milanesi, Florence 1878-81, vii, pp. 598 ff
12. Hope, 'Bronzino's Allegory', n. 4, p. 239
13. Panofsky, Iconology n. 3
14. Hope, 'Bronzino's Allegory' n. 4, Hendry n. 3, all favour 'Il Piacere'
15. Levey, The National Gallery Collection (1987) n. 1
16. and Conway 'Syphilis' n. 5 prefer 'Il Giuoco'
17. Bosch, 'Bronzino's London Allegory' n. 2, prefers Mirth
18. Conway, 'Syphilis', p. 251
19. E. Panofsky, Studies in Iconology (New York, 1962), p. vii
20. C. Gould, National Gallery Catalogues: the Sixteenth-Century Italian Schools (London, 1962), p. 23
21. A. H. Gilbert, 'Review of E. Panofsky, "Studies in Iconology"', Art Bulletin, vol. 22, 1940, pp. 172-174
22. Levey, The National Gallery Collection (1987) n. 1 and Conway, 'Syphilis' n. 5, have recognized that the two figures at the top of the painting are in opposition to each other
23. Ulrich Von Hutten, De Morbo Gallico, trans. T. Paynell (London, 1533), fol. 1r
24. R. Davenport-Hines, Sex, Death and Punishment (London, 1990), p. 20
25. D. Erasmus, The Colloquies of Erasmus, ed. C. Thompson (Chicago, 1965), pp. 408-409
26. D. Erasmus, Erasmi Epistolaes, London 1642, p. 1789e
27. Cited in C. Creighton, A History of Epidemics in Britain (London, 1965), vol. 1, p. 421
28. P. Pintor, De Morbo foedo et occulto (morbo gallico), Rome 1500
29. Cited in Quetel, History of syphilis n. 6, p. 20
30. J. Almenar, Libellus ad evitandum et expellendum morbum galicum, ut nunquam revertatur ..., Venice 1502
31. Cited in Quetel, History of syphilis, p. 21
32. See M. Pelling, 'Appearance and reality: barber-surgeons, the body and disease', The Making of the Metropolis, London 1500-1700, ed. A. Beier and R. Finlay, Essex 1986, pp. 82-111
33. M. Bakhtin, Rabelais and his World, trans. H. Iswolsky (Cambridge, MA, 1968), pp. 359-360
34. C. Hibbert, The Rise and Fall of the House of Medici (London, 1979), p. 274
35. Cited in G. Eatough, Fracastoro's "Syphilis" (Arca 12, F. Cairns, 1984), p. 11
36. B. Boehrer, 'Early Modern Syphilis', Journal of the history of sexuality, vol. 1, 1990, pp. 197-214
37. Hutten, De Morbo Gallico, n. 16, fol. 15v
38. J. Lemaire, Oeuvres (Louvain, 1885), iii, pp. 39-67
39. See also W. Myer, 'Syphilis and the Poetic Imagination', Renaissance Papers (Durham, NC, 1955)
40. On the genesis and ethos of the Italian madrigal see, The New Grove Dictionary of Music and Musicians, ed. S. Sadie (London, 1980), xi, pp. 462-468
41. U. Naich, 'Per Dio, Tu Sei Cortese', The Anthologies of Black-note Madrigals, ed. D. Harran, Corpus Mensurabilis Musicae 73, i, 2 (Hansler-Verlag, 1978), p. lxi: Per Dio, tu sei cortese, Amor, se'nvece del mio ben servire Per premi'hor ne riporto el mal franzese. Son questi della diva quei bei cigli, La dolce vista ov'ogni ben s'accoglie, La bianca gola e'1 cancher (che la pigli!)? Questi son piagh's doglie Ch'ava la mia signora nel bel seno, Et l'ascoso veneno Che tu celavi et hor si fa palese. Cosi, come gli e ver, ne fustu pieno, Et l'ali ti trapasi et mal franzese!
42. The New Grove Dictionary, n. 30, p. 467
43. Gilman, Disease and Representation, n. 6, p. 252
44. Dante Alighieri, The Inferno, ed. I. Gollanez (London, 1904), Canto xvii, p. 180: La faccia sua era faccia d'uom giusto, tanto benigna avea di fuor la pelle; e d'un serpente tutto l'altro fusto. Due branche avea pilose infin l'ascelle
45. V. Fildes, Wet Nursing: A History from Antiquity to the Present (Oxford, 1988), pp. 71-78
46. E. Panofsky, 'Homage to Fracastoro in a Germano-Flemish Composition of about 1590', Nederlands Kunsthistorisch Jaarboek, vol. 12, 1961, pp. 1-33
47. Namely, Otto van Veen's Image of Indiscrete Youth (1596-1598), Stockholm National Museum
48. Luca Giordano's Allegory of Syphilis (1664), Frankfurt
49. See F. Saxl, "Veritas Filia Temporis', Philosophy and history, essays presented to Ernest Cassirer (Oxford, 1936), pp. 197-222
50. G. Fracastoro, Syphilis sive Morbi Gallicus, i, ll. 322-23