16th century AD

(60.) Sepulchral equestrian images in northern Italy include those of the Visconti of Milan, Paolo Savelli in Venice, and Bartolommeo Colleoni in Bergamo; Erwin Panofsky, Tomb Sculpture: Four Lectures on Its Changing Aspects from Ancient Egypt to Bernini, ed. Horst W. Janson (1964; reprint, New York: Harry N. Abrams, 1992), 83-85; Horst W. Janson, "The Equestrian Monument from Cangrande della Scala to Peter the Great," Aspects of the Renaissance: A Symposium, ed. Archibald Lewis (Austin, Tex.: University of Texas Press, 1967), 73-85; Andrew Butterfield, The Sculptures of Andrea del Verrocchio (New Haven: Yale University Press, 1997), 161-67; and Tod Marder, Bernini's Scala Regia at the Vatican Palace (Cambridge: Cambridge University Press, 1997), 186-90. For a study of equitation in portraiture, see Walter Liedtke, The Royal Horse and Rider: Painting, Sculpture, and Horsemanship 1500-1800 (New York: Metropolitan Museum of Art and Abaris Books, 1989).

(61.) For the equestrian statue of Cloelia, whose bold escape from the Etruscan king Porsenna so impressed her contemporaries--even the enemy--that peace was restored, see Pliny 34.2, in The Elder Pliny's Chapters on the History of Art, trans. K. Jex-Blake, rev. ed. (1967; Chicago: Ares, 1977), 24-25; Livy 2.13, in The Early History of Rome, trans. Aubrey de Selincourt (1960; reprint, London: Penguin Books, 1971), 120; and Boccaccio, 1545 (as in n. 16), 66v. In the context of equestrian imagery on women's tombs, the cavalry parades sculpted on the sides of Empress Helena's porphyry tomb also are to be cited. Ingo Herklotz, "Sepulcra" e "Monumenta" del medioevo: Studi sull'arte sepolcrale in Italia, trans. Francesca Pomarici (Rome: Rari Nantes, 1985), 100.

(62.) See, for example, the seals of Elizabeth of Sevore (late 13th or early 14th century) and Mary, duchess of Burgundy and countess of Flanders (1477), in John Cherry, Medieval Decorative Art (London: British Museum Press, 1991), fig. 15; and Flanders in the Fifteenth Century: Art and Civilization, exh. cat., Detroit Institute of Arts, 1960, 364, no. 182. This type of imagery was probably conceived as a counterpart to the knightly equestrian representations on seals for men. For representations of woman engaged in hawking and other pastimes on horseback (sidesaddle), see the Limbourg brothers' calendar pages of May and August for Jean de Berry's Tres Riches Heures of 1413--16, fob. 5v, 8v, in The "Tres Riches Heures" of Jean Duke of Berry (New York: George Braziller, 1969).

(63.) E. Alfred Jones, "Some Notes on Nicholas Hilliard Miniaturist and Goldsmith c. 1547-1617," Connoisseur 112, no. 489 (1943): 3--6. The imagery of Elizabeth and Matilda were compared by Possevino (as in n. 46), 97, in his discussion of the pomegranate emblem that appears in Farinati's painting.

(64.) The inscription in Farinati's painting reads, "Stirpe, opibus, forma, gestis et nomine quondam/ Inclyta Matildis hic iacet astra tenens" (Renowned for her lineage, wealth, beauty, deeds and name, the late Matilda lies here, holding the stars [having attained glory]). It seems to have been copied from one of Matilda's tomb inscriptions, first recorded in Paolo Clerici da Legnago's 1537 "Compendium Historicum." Simeoni, 377; Piva, 1978, 452--53. Luchino (46) called these verses "very old" [antichissimi].