By Liana de Girolami Cheney
The purpose of this e-book is to target the starting place of the historiography of the phrases Mannerism and Maniera in work and drawings of the sixteenth-century in Italy. The articles herewith offered fall into different types. the 1st workforce explains the definition of the phrases Mannerism and Maniera, their periodicity, and their assets as illustrated by way of Giorogio Vasari, John Shearman, Craig Hugh Smyth, and Sydney Freedberg. the second one bargains with the polemic linked to using the time period and historiography and its software as voiced via Walter Friedlaender, Max Dvorak, Ernst Gombrich, Henri Zerner, David Summers, Malcolm Campbell, and Iris Cheney
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Maniera relates to painting. (Vite, First Preface, 6-7) V ASARI'S POSITION AS AN EXPONENT OF THE MANIERA STYLE Liana De Girolami Cheney From the time of the Renaissance, popes such as Nicholas V (1477-55), Sixtus IV (1471-84), Alexander VI (1492-1503), Julius II (1503-13) and Leo X (1513-21) were more concerned with establishing the papacy as an Italian political power, patronizing arts and learning, living in splendor, and enriching their relatives and favorites than they were with improving their role as religious leaders.
After them, indeed, their successors were enabled to attain to it through seeing excavated out of the earth certain antiquities cited by Pliny as amongst the most famous, such as the Laocoon, 30 the Hercules, the Great Torso of the Belvedere, and likewise the Venus, the Cleopatra, the Apollo, and an endless number of others, which, both with their sweetness and their severity, with their fleshy roundness copied from the greatest beauties of nature, and with certain attitudes which involve no distortion of the whole figure but only a movement of certain parts, and are revealed with a most perfect grace, brought about the disappearance of a certain dryness, hardness, and sharpness of manner, which had been left to our art by the excessive study of Piero della Francesca, Lazzaro Vasari, Alesso Baldovinetti, Andrea dal Castagno, Pesello, Ercole Ferrarese, Giovanni Bellini, Cosimo Rosselli, the Abbot of S.
8 Perino del Vaga, Sala Paolina, 1545. Rome, Castel Sant' Angelo Fig. ) Preaching of the Baptist, 1538-40. Rome, Oratory of San Giovanni Decollato Fig. 10 Giorgio Vasari, Allegory of the Im Conception, 1540. Florence, Chur Santissimi Apostoli 25 Fig. 11 Giorgio Vasari, The Supper of St. Gregory, 1539. Bologna, Pinaccoteca This page intentionally left blank PREFACE TO THE THIRD PART Giorgio Vasari Truly great was the advancement conferred on the arts of architecture, painting, and sculpture by those excellent masters of whom we have written hitherto, in the Second Part of these Lives, for to the achievements of the early masters they added rule, order, proportion, draughtsmanship, and manner not, indeed, in complete perfection, but with so near an approach to the truth that the masters of the third age, of whom we are henceforward to speak, were enabled, by means of their light, to aspire still higher and attain to that supreme perfection which we see in the most highly prized and most celebrated of our modem works.