On the Importance of Being an Individual in Renaissance Italy: Men, Their Professions, and Their Beards

By Douglas Biow | Go to book overview

Index
Page numbers in italics indicate images.
Abbott, Andrew, 38, 144
Accademia del Disegno (Florence), 43, 54, 238n95
Accolti, Bernardo (Unico Aretino), 188 admiration: Castiglione’s ruse of inviting everyone to admire those who can play the game of courtiership, 66–67, 70, 87; practitioner authors’ discourses on the arts eliciting, 44, 57, 66–67, 82, 86–87; as response to inimitability, 44, 82, 86–87; and wonder (“meraviglia”), 44, 82, 86–87
Alabardi, Michele, 159
Alberti, Leon Battista, 41, 55, 56, 181
Aldovrandi, Ulisse, 246n25
Alighieri, Dante, 32; Convivio, 257–58n21
anatomy and physician-anatomists, 139–50; competitive medical showmanship and professional rivalries, 144–50; Fioravanti on role of surgeons in anatomy lessons, 144–50; Fioravanti’s objections to anatomies, 136–39, 144–50, 249n60; Fioravanti’s professional battle with, 120, 123, 135–50, 245n16; four aspects of development of anatomy during the period, 139–40; and professional distinction, 139–45; public dissections as carnal theater, 140; public dissections as ritualized spectacles, 139–40, 250n75; quodlibetarian model of public dissection, 140–44, 141; unveiling the “secrets of nature,” 139, 250n74; Vesalius’s dissections (and barber-surgeons), 140–45, 142, 143, 147. See also Fioravanti’s professional battle with physician-anatomists; surgeons
Andreini, Isabella, 242n6
Aretino, Pietro, 129, 151; on barbershops and gossip, 218; beard of, 195–96, 196; Il marescalco (The Stablemaster), 218; Titian’s portrait of, 195–96, 196
Ariosto, Ludovico, Orlando Furioso, 83, 240n121, 256–57n6
Aristotle: and concept of “techne,” 23, 232n4, 234n38; De anima and De sensu, 248n47; Nicomachean Ethics, 193; on the nose and the olfactory sense, 248n47, 248n51; Physiognomics, 248n51; on practical knowledge of phronesis and praxis, 23
ars and arte as forms of knowledge in Renaissance Italy, 5, 21–34, 82–92; artists’ workshops as laboratories/spaces of reflection and inquiry, 42, 43; assumption that universal rules underlay the arts, 86; broad significance of Renaissance treatment of the arts, 82–92; Burckhardt’s claim that the concept of art (Kunst) lay at heart of Italian Renaissance, 87–89, 92; and concept of techne in classical antiquity, 21–31; and concept of techne in classical antiquity (resuscitated), 42, 84, 90–91; the desire for inimitability and professional self-definition, 86–87, 90–92; and educability, 24–26, 55–57, 86; and increasingly positive appraisal of the productive arts in the Middle Ages, 31, 32–34, 45–46; the liberal/semiliberal arts, 28, 33, 45, 233n17; new professionalized corporate structure of art production, 54–55; and newness (historians’ emphasis on newness/what is actually new), 83–86; shift in attitudes about values of art and work as specialized knowledge, 35, 44–49, 85–86, 88–89. See also arts, productive; arts, stochastic; practitioner authors’ discourses on the arts and professionalism; techne, classical concept of

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