Catholic Reform and Bernardino Poccetti's Chiostro dei Morti at the church of SS Annunziata in Florence

Apollo, Sept, 2003 by Gauvin Alexander Bailey

(8) See the remark in Sydney J. Freedberg, Painting in Italy, 1500-1600, New Haven and London, reprinted 1993, pp. 627 and 717, note 627.14.

(9) Poccetti has hot enjoyed the critical attention he deserves. There is still no comprehensive published monograph on the artist, although there are no fewer than four theses and a number of works on his drawings or other specific aspects of the artist's oeuvre. See Stefania Vasetti, Bernardino Poccetti e gli Strozzi, Florence, 1994; eadem, Bernardino Barbatelli detto il Poccetti, 4 vols, unpublished tesi di laurea, Universita degli Studi di Firenze, 1988-89; Giuliano Briganti, La pittura in Italia: Il cinquecento, 2 vols., Milan, 1987, vol. II, p. 807; Stefania Vassetti, 'Bernardino Poccetti', in ll Seicento fiorentino, 3 vols., exh. cat., Florence, 1986, vol. III, pp. 149-52; Freedberg, op. cit., pp. 627-30; Paul C. Hamilton. Disegni di Bernardino Poccetti, exh cat., Florence, 1980; idem, The Sources of Bernardino Poccetti's Style, unpublished PhD dissertation, Johns Hopkins University, Baltimore, 1973; G. Campani, Bernardino Poccetti, unpublished tesi di laurea, Universita degli Studi di Firenze, 1974; W. Vitzthum, Die Handzeichnungen des Bernardino Poccetti, Berlin, 1955; Ugo Nomi and V. Pescolini, Il chiostro grande della SS. Annunziata di Firenze e il pittore Bernardino Poccetti da San Gimignano, Florence, 1903; Filippo Baldinucci, Notizie de professori del disegno di Cimabue in qua, F. Ranalli (ed.), Florence, 1846, vol. III, pp. 132-57.

(10) Vasetti, op. cit. in n. 9 above (1986), p. 151; Vasetti, op. cit. in n. 9 above (1994), pp. 7-8.

(11) See Pamela M. Jones, 'Art Theory as Ideology: Gabriele Paleotti's Hierarchical Notion of Painting's Universality and Reception', in Claire Farago (ed.), Reframing the Renaissance, New Haven and London, 1995, p. 129.

(12) Poccetti quoted directly from Albrecht Durer in some of his earlier lunettes. See Hamilton, op. cit. in n. 9 above (1980), p. 12.

(13) Poccetti probably acquired his taste for Barocci's draperies from his work with Barroci's follower Ventura Salimbeni. On Barocci's work for the Capuchins, see Stuart Lingo, The Capuchins and the Art of History, unpublished PhD dissertation, Harvard University, 1998, and on his work for the Oratorians in Rome, see La regola e la fama, Milan, 1995.

(14) Hamilton, op. cit. in n. 9 above (1980), p. 17.

(15) He is often given this name in account documents, even in the early 1600s; for a case in point, see Archivio di Stato di Firenze (hererafter ASF), Corporazioni Religiose Soppresse dal Governo Francese 119, 739 (Entrate e Uscite, SS Annunziata, 1584-89), fol. 38v.

(16) The only one of his palace facade frescoes to survive is at the Palazzo di Bianca Cappello in Via Maggio. For brief accounts of Poccetti's life, see Hamilton, op. cit. in n. 9 above (1980), pp. 7-22; Vassetti, op. cit. in n. 9 above (1994), pp. 5-9; Vasetti, op. cit. in n. 9 above (1986), pp. 149-52; Freedberg, op. cit., pp. 627-29; La pittura in Italia, op. cit., p. 807.