Acknowledgements
Numerous persons and institutions helped facilitate the pursuit of this project. It was funded in part by a Faculty Research Grant from Webster University, a Samuel H. Kress Foundation Fellowship in Renaissance Art History from the Renaissance Society of America, a Sadie and Louis Roth Fellowship and a Singleton Travel Fellowship, both through the Johns Hopkins University, and a Charles S. Singleton Fellowship from The Singleton Center for Italian Studies at the Villa Spelman, The Johns Hopkins University.
I am very grateful to the Palazzo Vecchio, which was always accommodating in allowing visits and the taking of photographs even in those rooms closed to the public. Other institutions and their staff were equally supportive in providing access to closed areas and to drawings and prints. Among them I must thank the staff at the Victoria & Albert Museum; the Ashmolean Museum, including Caroline Palmer; Marlene Ericsson, Greger Bergvall, Josefine Jiménez, and Ulrika Winged of Sweden’s Kungliga biblioteket; the staff of the Kupferstichkabinett and the Bode-Museum of the Staatliche Museen zu Berlin; the Österreichische Nationalbibliothek, especially Friedrich Simader; Andreas Pischel in the Kupferstich-Kabinett of the Staatliche Kunstsammlungen Dresden; the Bibliothèque nationale de France, in particular Vanessa Selbach and Catherine Hofmann; Anne D’Hauwer and Michiel Verweij of the Koninklijke Bibliotheek van België; the Plantin-Moretus Museum, especially Nico De Brander and Marijke Hellemans; Marja Stijkel of the Rijksmuseum; Anita Neefjes and Hans Visser of the Stadsarchief Amsterdam; Stefano Brochette and other staff at the Castel Sant’Angelo; the Metropolitan Museum of Art and especially Mary Zuber; the staff of the Gabinetto dei Disegni e delle Stampe of the Gallerie degli Uffizi; and that of the Rocca del Brunelleschi at Vicopisano.
I am particularly indebted to Stephen Campbell, who oversaw the first version of this project and read many versions of it, and continued to offer comment and feedback. This project would not have gotten started, much less finished, without his continual support and assistance. Over the years I have enjoyed the camaraderie and support of Jill Pederson, Christopher Nygren, Benjamin C. Tilghman, Jannette Vusich, Jennifer Sliwka, Joyce Tsai, Lynette Roth, Molly Warnock, Ittai Weinryb, and others, all of whom assisted in this project’s early stages. I greatly benefitted from and enjoyed the time spent discussing city views with Mark Rosen, Jessica Maier, Joaneath Spicer, Maria Galassi, and Pieter Martens. Sheila Reiss, Sean Roberts, Yael Even, Evelyn Lincoln, Walter Melion, Cynthia Stollhans, Timothy McCall, Caroline Elam, Liana de Girolamo Cheney, Charles Dempsey, Simon Pepper, Arthur DiFuria, Jane Turner, and Min Kyung Lee provided discussion, encouragement, or comment at different times.
I furthermore need to thank the attendees of the annual conferences of the Renaissance Society of America, the Sixteenth-Century Society and Conference, The College Art Association, the South-Central Renaissance Conference, and the Center for Medieval and Renaissance Studies, all of whom provided wonderful points for thought. The anonymous reviewers of the manuscript also offered many useful critiques and suggestions. I am furthermore grateful to Walter Melion for including this volume in the series Studies on Art, Art History, and Intellectual History and to Ivo Romein and Wilma de Weert of Brill for their assistance during the editorial process.
Of special note are Judith Mann, Elizabeth Wyckoff, Jeanne Zarucchi, Jill Carrington, William Wallace, Fredericka Jacobs, and Julia DeLancey, all of whom have been unfailing in their friendship, encouragement, and assistance both on this project and in my career. I thank them deeply.
My deep gratitude goes to the Department of Art, Design, and Art History at Webster University. I consider myself fortunate to have found such a kind and supportive group of colleagues. In addition, the administration of Webster generously provided funding for the pursuit of research and publication. Erin Hennessey, Emily Thompson, and Emma Nowlin all have aided me in research at different times, for which I am grateful. I also thank Julia Masetti for her assistance with some translation.
Tyler Stallings not only listened to me discourse on these topics at length, but also kindly read a draft of the manuscript. I greatly appreciate our lunches and conversations.
Deborah Gregg has read and proofread more versions of this book than anyone. I could not have finished it without her attention to both the parts and the whole.
Finally, my family, both immediate and extended, has been continually supportive throughout the years. They have remained one of the few constants in my life. Special thanks goes to my wife Drea, for her patience and for keeping me balanced, and to my children, who keep me grounded.