Introduction: Toothpicks and green hangings

Renaissance Studies

Volumn 19, Issue 5, 2005, Pages 581-590

  Penny, Nicholas ^a  

^a NONE

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EID: 67650800297     PISSN: 02691213     EISSN: None     Source Type: Journal    
DOI: 10.1111/j.1477-4658.2005.00121.x     Document Type: Article

References (24)

1. David Brown, Peter Humfrey, and Mauro Lucco, Lorenzo Lotto: rediscovered artist of the Renaissance, exh. cat. (Washington DC, National Gallery of Art, 1998), 115, no. 15 (entry by Mauro Lucco).
2. The inventory numbers are NG 1309 (London), A.340 (Vicenza), and 239 (Dublin).
3. r.
4. For the King's picks see H. Clifford Smith, Jewellery (London, 1908), 250-51.
5. A relatively plain gold toothpick from the tomb of Count Palatine Philip Ludwig in the Bayerisches Nationalmuseum (T4229) is illustrated in A. G. Somers Cocks, Princely Magnificence: Court Jewels in the Renaissance 1500-1630, exh. cat. (London, Victoria and Albert Museum, 1980), no. 75a.
6. For elaborate versions in the Rijksmuseum and the British Museum (Waddesdon Bequest) see Yvonne Hackenbroch, Renaissance Jewellery (Munich, 1979), 33, Fig. 58 and 161, Fig. 434;
7. and for the example in the Walters Art Museum illustrated here see Diana Scarisbrick, Objects of Adornment, exh. cat. (Baltimore, Walters Art Gallery, 1984), 139-40, no. 138 (44.482).
8. For the Queen's New Year gift of 1573/4 see Smith, Jewellery, 251
9. and for 1579 see Hugh Tate, Catalogue of the Waddesdon Bequest in the British Museum, Vol.1: The Jewels (London, 1986), 1717, no. 31.
10. I. i. 169-72. Parolles: 'Virginity, like an old courtier, wears her cap out of fashion; richly suited, but unsuitable: just like the brooch and the tooth pick, which wear not now' (meaning which are not now worn). Given that the brooch is likely to be a cap ornament, in this case the toothpick may have also doubled as a brooch or badge fixing or as a separate hatpin (as some commentators have deduced).
11. Della Casa's Galateo was written 1551-1555, published posthumously in 1558 and soon translated into French, English, Latin, Spanish and German. The relevant passage is in the second paragraph of Chapter 29. Interestingly Della Casa does not refer to jewelled toothpicks on chains but to common toothpicks on cords which suggests that the practice was not confined to the opulent.
12. John Pope Hennessy, Cellini (London, 1985), 13.
13. For the Studiolo of Francesco I see Luciano Berti, Il Principe dello Studiolo: Francesco I de Medici e la fine del rinascimento fiorentino (Florence, 1967)
14. and Scott Schaefer, The Studiolo of Francesco I de' Medici (Ann Arbor, 1981).
15. For the Borgherini bedroom see the reconstruction by Alan Braham, 'The Bed of Pierfrancesco Borgherini', Burlington Magazine, 121 (1979), 754-65
16. and also Antonio Natale, Alessandro Cecchi et al., L'Officina della Maniera, exh. cat. (Florence, Uffizi, 1996), 248-59.
17. For the Camerino of Duke Alfonso, which is still the subject of much controversy, see David Jaffé (ed.), Titian, exh. cat. (London, National Gallery, 2003), 101-3, and the bibliography supplied there.
18. r.
19. Passo derives, according to Boerio's Dizionario del dialetto veneziano, from el passio, the Passion - hence any image that recalled Christ's sacrifice and most usually (to judge from surviving works) the Dead Christ supported by angels, or the Dead Christ supported by the Virgin (a Pietà), or the Man of Sorrows.
20. r;
21. v.
22. Giles Robertson, Catena (Cambridge, 1954), 23-24.
23. This is, however, also true of the cupboard doors in Carpaccio's Dream of Saint Ursula (Accademia, Venice) and in Mansueti's Vision of Saint Augustine (Bonnenfantenmuseum, Maastricht).
24. See the inkstand in Pier Francesco Sacchi's Saint Paul in the National Gallery, London. Jeremy Warren has pointed out that a basin, presumably originally fitted with a central vase, is in the Museum für Kunst und Gewerbe, Hamburg (inv. 1950.47).