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with a Botticellian Case Study/ Art Journal 44 Rupprich 1956-1969, 1:307-308; Conway 1889, 139. the end of Book 3 in the Vier Biicher von mensch-
(1984), 207-215. 50. For Diirer's copies after Mantegna prints in 1494, licher Proportion (Nuremberg, 1528).
26. Edgerton 1975, 91-123. see W. Strauss, The Complete Drawings of Albrecht 61. For Diirer's verkehrer (converter), see Dresden fols.
27. P. Fortini Brown, Venetian Narrative Painting in the Durer, 6 vols. (New York, 1974), vol. i, 1494/12 to io6v, io3r-v; Strauss 1972, nos. 72-74.
Age of Carpaccio (New Haven, 1988), especially 13; Erwin Panofsky, The Life and Art of Albrecht 62. Sloane 5231,114; Conway 1889, 249; Diirer 1528.
chap. 10. Durer (Princeton, 1971), 31-32; and F. Anzelewsky, 63. Letter of 23 September 1506; Conway 1889, 56.
28. B. Yamey, Art and Accounting (New Haven, 1989). Durer: His Life and Art (New York, 1981), 50-51. 64. Codex Urbinas, 6ir-v; trans, in Kemp 1989, 220,
29. H. Chaumartin, Le Bal des ardents (Paris, 1946), 51. Underweysung der Messung (Nuremberg, 1525); no. 568.
100. For the context of Griinewald's altarpiece, see letter of introduction in W. L. Strauss, ed., Albrecht 65. Rupprich 1956-1969,1:214-215; Conway 1889,145.
Andree Hayum, The Isenheim Altarpiece: God's Durer: The Painter's Manual (New York, 1977), 37; 66. In Albrecht Diirer, Gedenkbuch (Kupferstich-
Medicine and the Painter's Vision (Princeton, 1989). Conway 1889,171,188. kabinett, Staatliche Museen Preussischer Kultur-
For the rosary, see G. Ritz, Der Rosenkranz 52. British Library, MS Sloane 5229, 36v; Sloane 5230, besitz, Berlin); Rupprich 1956-1969,1:36;
(Munich, 1963). io2r; Rupprich 1956—1969, 2:92. Anzelewsky 1981,16, pi. 6.
30. Umberto Rossi, "I Medaglisti del Rinascimento alia 53. Leonardo was involved with architectural projects for 67. Windsor i2665r and MS G 6v; trans, in Kemp 1989,
corte di Mantova, II: Pier Jacopo Alari-Bonacolsi Galeazzo; see Carlo Pedretti, Leonardo da Vinci: 234, no. 583, and 237, no. 586.
detto 1'Antico," Revista italiana di numismatica i The Royal Palace at Romorantin (Cambridge, Mass., 68. Codex Urbinas, 44r-v, iO7r, 15 7r; trans, in Kemp
(1888), 161-194, 433-438; and Anthony Radcliffe, 1972), 16-18. Galeazzo was the dedicatee of the 1989, 203, no. 529, and 120, nos. 306-307; Sloane
"Antico and the Mantuan Bronze/ in Splendours major manuscript of Pacioli's De divina proportione 5230, i4v; Rupprich 1956-1969, 2:100-101;
of the Gonzaga [exh. cat., Victoria and Albert (Ambrosiana, Milan), which contains illustrations Conway 1889,180,199. See Martin Kemp, " 'Ogni
Museum] (London, 1981), 46-49. designed by Leonardo. See Anzelewsky 1981,102- dipintore dipinge se': A Neoplatonic Echo in Leonar-
31. Paul Kristeller, Andrea Mantegna (Berlin, 1902), 104, for Galeazzo and Pirckheimer. do's Art Theory," in Cultural Aspects of the Italian
577- 54. Anzelewsky 1981,104-106. Renaissance: Essays in Honour of Paul Oskar Kris-
32. Kemp 1991; 55. See Martin Kemp, in Leonardo da Vinci [exh. cat., teller, ed. C. Clough (Manchester, 1976), 311-323;
33. Lorenzo Ghiberti, / Commentarii, ed. Julius von Hayward Gallery] (London, 1989), 184. and Kemp, " 'Equal Excellences': Lomazzo and the
Scholosser (Berlin, 1912), 6. 56. The other Dresden drawing after Leonardo's Explanation of Individual Style in the Visual Arts,"
34. Bernard Schultz, Art and Anatomy in Renaissance anatomical studies is fol. 133V, based on Windsor Renaissance Studies i (1987), 10-12.
Italy (Ann Arbor, Mich., 1985), 49-51, and more 12613^ See W. Strauss, ed., The Human Figure by 69. See particularly the texts in Kemp 1989,10,
generally for artists' involvement in anatomical Albrecht Durer: The Complete Dresden Sketchbook nos. 4-8.
investigations. (New York, 1972), nos. 131-132; Kenneth Clark and 70. Martin Kemp, "From 'Mimesis' to 'Fantasia': The
35. Schultz 1985, 57. Carlo Pedretti, The Drawings of Leonardo da Vinci Quattrocento Vocabulary of Creation, Inspiration
36. Schultz 1985, 61-63. in the Collection of Her Majesty the Queen at and Genius in the Visual Arts," Viator 8 (1977),
37. Martin Kemp, Leonardo da Vinci: The Marvellous Windsor Castle, 3 vols. (London, 1979), no. 12613^ 376-384.
Works of Nature and Man, zd ed. (London, 1990), v. Dresden 13ov contains four of the five drawings 71. Sloane 5231; Conway 1889, 243.
257- from Windsor i26rjv and the hand from 12613^ 72. Sloane 5230, 68; Rupprich 1956-1969, 2:109-110;
38. Martin Kemp, ed., Leonardo on Painting, trans. while i33v contains three of the six drawings on Conway 1889,177,197. See Erwin Panofsky, Idea: A
Martin Kemp and Margaret Walker (New Haven, 12613 r. Diirer's copies are not identical in size to Concept in Art Theory, trans. J. S. Peake (New York,
1989), 130, no. 333. Leonardo's drawings, but the labored line of the 1968), i23,-i25, for the classical sources of Diirer's
39. For the Canon and proportions generally, see Erwin copies suggests that they were traced or directly rep- views. See also Martin Kemp, "The 'Super-Artist' as
Panofsky, "The History of Human Proportions as a licated from Leonardesque prototypes. Dresden i3ir Genius: the Sixteenth-Century View," in Genius,
Reflection of the History of Styles/' in Meaning in is also clearly copied directly from Leonardo, ed. P. Murray (Oxford, 1989), 32-53.
the Visual Arts (Harmondsworth, 1970), 82-138. although the original has been lost. 73. Sloane 5231, 2or; Sloane 5321, i23r; Conway 1889,
40. Leon Battista Alberti, "On Painting" and "On 244.
Sculpture" ed. and trans. Cecil Grayson (Oxford, 57. L. Reti, "Leonardo da Vinci and the Graphic Arts. 74. Albertina, Vienna, Bd. V. 17575, drawing for two
a
1972), 132-135, citing Zeuxis as his precedent. The Early Invention of Relief Etching," Burlington figures at the left of the Battle of Ostia-, see P.
41. Hans Rupprich, Durer: Schriftlicher Nachlass, Magazine 113 (1971), 188-195. Joannides, The Drawings of Raphael (Oxford, 1983),
3 vols. (Berlin, 1956-1969), 1:102. 58. Alberti's ideas were adapted in a book published in no. 371; Conway 1889, 33.
42. Pomponius Gauricus, De scultura (1504), ed. Andre Nuremberg in 1511, Das Buch von der Malerei, and 75. Pirckheimer, letter to Johann Tscherte on Diirer's
Chastel and Robert Klein (Geneva, 1969), 183-187; Durer himself acquired a manuscript of De statua death in 1528; in Conway 1889, 38.
and David Summers, Michelangelo and the Lan- in 1523. See Strauss 1972, no. 85; also no. 31, for 76. Kunsthalle, Bremen (now lost); Strauss 1974,
guage of Art (Princeton, 1981), 332-379. Pirckheimer and Gauricus. For the adaptations 1519/2; see also the drawing, Self-Portrait as the
43. Summers 1981, 380-396. of the "Vitruvian Man," see F. Zollner, Vitruvs ''Man of Sorrows," Kunsthalle, Bremen; Strauss
44. Kenneth Clark, The Nude (Harmondsworth, 1960), Proportionsfigur: Quellenkritische Studien zur 1974,1522/8.
i: "To be naked is to be deprived of our clothes and Kunstliteratur im 15. und 16. Jahrhundert 77. Codex Arundel, 272r, 9 July 1504; in J. P. Richter,
the word implies some of the embarrassment which (Worms, 1987). ed., The Literary Works of Leonardo da Vinci, 2
most of us feel in that condition. The word nude 59. For the knowledge of Leonardo's proportional studies vols. (Oxford, 1970), 2:344, - 37 ' Conway 1889,
2
no 1
... carries, in educated usage, no uncomfortable by Durer and the author of the Codex Huygens, see 40-41, 77-79 (1504 and 1513 respectively).
overtone/' Erwin Panofsky, The Codex Huygens and Leonardo 78. A. E. Popham, The Drawings of Leonardo da Vinci
45. Leo Steinberg, The Sexuality of Christ in Renais- da Vinci's Art Theory (London, 1940), 115-122; (London, 1964), no. 154; Carlo Pedretti, ed., Disegni
sance Art and in Modern Oblivion (London, 1983), Panofsky 1971, 264-268; and F. Zollner, "Die di Leonardo da Vinci e della scuola alia Biblioteca
141-143. Bedeutung von Codex Huygens und Codex Urbinus Reale di Torino (Florence, 1975), no. i. I am inclined
46. E. H. Gombrich, "Botticelli's Mythologies," in Sym- fur die Proportions- und Bewegungstudien Leonar- to date the Turin drawing to the later 14905, which
bolic Images (London, 1972), 42. The letter was dos da Vinci," Zeitschrift fur Kunstgeschichte 52 would exclude it as a self-portrait. The only reliable
probably written c. 1477-1478 when Lorenzino was (1989), 334-351; and Zollner, "Leonardo, Agrippa image of Leonardo is the studio drawing in Windsor
fourteen or fifteen years old. and the Codex Huygens," Journal of the Warburg 12726; see London 1989, no. i.
47. Pico della Mirandola, Oration on the Dignity of and Courtauld Institutes 48 (1985), 229-234. There
Man, trans. Forbes, in The Renaissance Philosophy is also evidence that Durer knew the new kind of
of Man (Chicago, 1948), 224-225. compasses for the drawing of ellipses that appear in
48. Rupprich 1956-1969,1:58; W. M. Conway, one of Leonardo's studies; see O. Kurz, "Diirer, Leo-
trans., The Literary Remains of Albrecht Durer nardo, and the Invention of the Ellipsograph," Rac-
(Cambridge, 1889), 58. colta Vinciana 17 (1960), 15-26.
49. J. Camerarius, preface to Diirer's De symmetria par- 60. Codex Urbinus, i6r-v, trans, in Kemp 1989, 34, no.
Hum humanorum corporum (Nuremberg, 1532); 59; Sloane 5231, 114; Conway 1889, 250; included at

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