Portrait cultures of the early modern Cardinal /Edited by Piers Baker-Bates and Irene Brooke.

Description based upon print version of record.

Includes bibliographies and index.

The visual legacy of early modern cardinals constitutes a vast and extremely rich body of artworks, many of superb quality, in a variety of media, often by well-known artists and skilled craftsmen. Yet cardinal portraits have primarily been analysed within biographical studies of the represented individual, in relation to the artists who created them, or within the broader genre of portraiture. No more profound investigation of these as a specific category of object has ever been attempted. This volume addresses questions surrounding the production, collection, and status of the cardinal portrait, covering diverse geographies and varied media. Examining the development of cardinals' imagery in terms of their multi-layered identities, this volume considers portraits of 'princes of the Church' as a specific cultural phenomenon reflecting cardinals' unique social and political position.

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((c) The Fitzwilliam Museum, Cambridge).

Plate 2 Titian, Cardinal Pietro Bembo, c. 1540, oil on canvas, Washington, DC, The National Gallery of Art ((c)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 ((c) 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 ((c) Gallerie dell'Accademia di Venezia).

Plate 4 Raphael, Meeting of Leo I with Attila, 1514, fresco, Vatican City, Musei Vaticani ((c) 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 ((c) 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 ((c) Venice, Fondazione Giorgio Cini-Matteo de Fina).

Plate 6 Detail of Leandro Bassano, Honorius III Approving the Rule of St. Dominic in 1216, 1607-1608, ((c) Venice,Fondazione Giorgio Cini-Matteo de Fina).

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