| 0.1 | Rosso Fiorentino and Francesco Primaticcio (and workshop), Gallery of Francis I, 1533–1539 | 9 |
| 0.2 | Cave 1 with the Bodhisattva Padmapani to the left of the Buddha Shrine, c.5th century CE, Ajanta, Maharashtra | 15 |
| 1.1 | El Greco, Portrait of a Sculptor (Pompeo Leoni), 1577/80, oil on canvas | 34 |
| 1.2 | Pompeo Leoni, King Philip II of Spain, after 1550, marble | 35 |
| 1.3a | El Greco, Christ Healing the Blind, c.1575, oil on canvas | 38 |
| 1.3b | Detail 1.3a | 38 |
| 1.4 | Diego Velázquez, Portrait of Juan Martínez Montañés, 1635/36, oil on canvas | 39 |
| 1.5 | El Greco, variation of Michelangelo’s Giorno, c.1570, charcoal and black and white chalks on blue paper with blue wash at borders | 40 |
| 1.6 | Michelangelo, Giorno, tomb of Giuliano de’ Medici, 1520–1534, marble | 42 |
| 1.7 | Tintoretto, study after Michelangelo’s Giorno, c.1550–1555, black and white chalk on blue paper | 43 |
| 1.8a | El Greco, The Risen Christ, 1595–1598, polychrome wood | 45 |
| 1.8b | El Greco, The Resurrection of Christ, 1597–1600, oil on canvas | 46 |
| 1.9a | El Greco, The Adoration of the Name of Jesus, c.1578–1579 | 47 |
| 1.9b | Detail 1.9a | 48 |
| 1.9c | Detail 1.9a | 48 |
| 1.10a | El Greco, The Purification of the Temple, c.1600, oil on canvas | 49 |
| 1.10b | Detail 1.10a | 49 |
| 1.11a | El Greco, The Purification of the Temple, c.1570, oil on canvas | 51 |
| 1.11b | Detail 1.11a | 51 |
| 1.12 | El Greco, eye, drawing in the margin of Vasari’s second edition of The Lives | 54 |
| 1.13 | El Greco, view of the main altar in Santo Domingo el Antiguo | 56 |
| 1.14 | El Greco, The Holy Face, 1577–79, oil on panel and wooden sculptures | 57 |
| 1.15 | Interior of the Church of the Hospital and Shrine of Nuestra Señora de la Caridad | 58 |
| 1.16 | Shrine of Nuestra Señora de la Caridad | 59 |
| 1.17 | El Greco, St. Idelphonsus in his Study, 1603–1605, oil on canvas | 60 |
| 1.18 | Statue of Nuestra Señora de la Caridad | 61 |
| 2.1 | Gianlorenzo Bernini, Bust of the Saviour, 1679, marble | 73 |
| 2.2 | François Duquesnoy, Saint Susanna, 1633, marble | 80 |
| 2.3 | Gianlorenzo Bernini, Bust of King Louis XIV, 1665, marble | 82 |
| 2.4 | Anonymous engraver, Portrait of Giovanni Gonnelli, woodcut | 84 |
| Giovanni Gonnelli, Bust of Pope Urban VIII, 1637, terracotta | 86 | |
| 2.6 | Gianlorenzo Bernini (workshop), Bust of Pope Urban VIII, 1640, marble | 87 |
| 3.1 | Raphael, so-called Mond Crucifixion, 1503 | 104 |
| 3.2 | Current exhibition view of Raphael’s Mond Crucifixion in the Salisbury Wind, National Gallery, London | 105 |
| 3.3 | Unknown painter, copy after Raphael’s Gavari Crucifixion, around 1809 | 106 |
| 3.4 | Interior view of San Domenico, Città di Castello, postcard, c.1950s | 111 |
| 3.5 | Interior view of San Domenico, Città di Castello, construction site 1913 | 112 |
| 3.6 | Plan of San Domenico, Città di Castello | 113 |
| 3.7 | Gavari Chapel, San Domenico, Città di Castello, seen from the right choir chapel | 114 |
| 3.8 | Perugino, Pala Monteripido, 1502–04; unknown sculptor, Crucifix, 15th century | 116 |
| 3.9 | Raphael, so-called Mond Crucifixion, detail | 118 |
| 3.10 | Ludwig Gruner, Raphael’s Gavari Crucifixion 1839, engraving | 122 |
| 3.11 | Filippo Brunelleschi, Crucifixion of Christ, 1410–15, coloured wood sculpture | 127 |
| 3.12 | Detail 3.11 | 128 |
| 3.13 | Detail 3.1 | 129 |
| 3.14 | Detail 3.11 | 130 |
| 3.15 | Detail 3.1 | 131 |
| 3.16 | Giotto di Bondone, Croce sagomata, 1290–95 | 132 |
| 3.17 | Masaccio, Trinity, fresco, 1427–28 | 133 |
| 3.18 | Giotto (figure 3.16); Brundelleschi (figure 3.11); Masaccio (figure 3.17); Raphael (figure 3.1) | 134 |
| 4.1 | Anonymous, Saint Luke in the clouds above a painters’ guild procession towards Augsburg, after 1600 | 150 |
| 4.2 | Christian Carl Falck, flag of the Frankfurt painters and varnishers, 1840, tempera on silk | 151 |
| 4.3 | Anonymous, flag of the Frankfurt house painters, 1859(?), tempera on silk | 152 |
| 4.4 | Sign of the lodging for the journeymen of the Frankfurt carpenters and joiners, around 1800, oil on wood | 154 |
| 4.5 | Jost Amman, winged ox with painters’ guild’s coat of arms, 1578, woodcut | 155 |
| 4.6 | Christoph Weigel, Der Tüncher, 1698, copperplate print | 157 |
| 4.7 | Hubert Gerhard, Hercules, made 1582/1584 for the portal of the Fugger residence at Kirchheim an der Mindel, terracotta | 159 |
| Giulio Licinio, façade painting at the Rehlingerhaus in Augsburg, painted 1560/61, photograph from 1873 | 161 | |
| 4.9 | Jost Amman, duel of a painter and a wall painter, 1588, etching | 162 |
| 4.10 | Veit Stoß (inventor), Gilg Sesselschreiber (casting), Cimburgis of Masovia (attributed), cast in the first third of the 16th century for the tomb of Maximilian I, bronze | 163 |
| 4.11 | Jost Amman, duel of a painter and a goldsmith, 1588, etching | 165 |
| 4.12 | Hans Burgkmair, Sebastian Loscher, Rosenkranzaltar, made around 1522 Altar with sculpture and oil on panel | 168 |
| 4.13 | Anonymous, bismuth casket, undated (15th–18th century). Painted and varnished pine, metal | 171 |
| 4.14 | Jan Luyken (printer), Dockenmacher von Trachant, 1698, etching | 172 |
| 4.15 | Anonymous (Augsburg), gold and painted-enamel cased verge watch, case painted 1650–1660, enamel on gold | 175 |
| 4.16 | Paulus Potter, The Bull, painted 1647, oil on canvas | 182 |
| 4.17 | Jan Brueghel the Elder, Hendrick van Balen the Elder, and Frans Francken II, Allegory of Sight and Smell, c.1620, oil on canvas | 184 |
| 4.18 | Jan Brueghel the Elder, Hans Rottenhammer, Christ’s Descent into Limbo, 1597, oil on copper | 186 |
| 5.1a | Master of the Legend of St. Wolfgang, The Building of the Church of St. Wolfgang with the Help of the Devil, 1515/1520, wood | 199 |
| 5.1b | Master of the Legend of St. Wolfgang, Wolf Disguised as a Pilgrim, 1515/1520, wood | 200 |
| 5.2 | Anonymous, The Building of the Church of St. Wolfgang, 1510–1520, tempera on wood | 201 |
| 5.3 | Spinello Aretino, Scenes from the Life of St. Benedict: The Devil Weighing Down a Stone, c.1387/88, fresco | 203 |
| 5.4 | Spinello Aretino, Scenes from the Life of St. Benedict: The Devil Slays a Monk by Collapsing a Wall, c.1387/88, fresco | 204 |
| 5.5 | Stone Bridge (Steinerne Brücke), Regensburg | 208 |
| 5.6 | Bruckmandl, 1854, limestone, copy of a sculpture from c.1446, destroyed in 1579 | 208 |
| 5.7 | Weasel or lizard, stone relief on the flank of the Stone Bridge, Regensburg, 1835, chalk lithograph | 209 |
| 5.8 | Cockfight, 1580, stone relief on the flank of the Stone Bridge, Regensburg | 209 |
| 5.9a | Johann Melchior Füssli, Devil’s Bridge, 1712, colored engraving | 220 |
| 5.9b | Detail 5.9a (the devil’s stone) | 221 |
| 6.1 | Filippo Brunelleschi, Sacrifice of Isaac, 1401, gilded bronze | 238 |
| 6.2 | Lorenzo Ghiberti, Sacrifice of Isaac, 1401, gilded bronze | 238 |
| Lorenzo Ghiberti and workshop, Gates of Paradise, 1425‒1452, gilded bronze | 239 | |
| 6.4 | Lorenzo Ghiberti, The Story of Abraham, c.1432/34, gilded bronze | 239 |
| 6.5 | Bernardo Rossellino and workshop, Tomb of Leonardo Bruni, c.1444‒1451 | 244 |
| 6.6 | Desiderio da Settignano and workshop, Tomb of Carlo Marsuppini, 1453‒1455 | 245 |
| 6.7 | Mino da Fiesole and workshop, Tomb of Bernardo Giugni, 1464/66‒1468/69 | 246 |
| 6.8 | Mino da Fiesole and workshop, Tomb of Margrave Ugo di Toscana, c.1470‒1481 | 247 |
| 6.9 | Lorenzo Ghiberti, Baptism of Christ, c.1417/24‒1427, gilded bronze | 252 |
| 6.10 | Lorenzo Ghiberti, Baptism of Christ, c.1409, gilded bronze | 253 |
| 6.11 | Donatello, Feast of Herod, 1423‒1427, gilded bronze | 254 |
| 6.12 | Donatello, Feast of Herod, c.1430/40 (?), marble | 255 |
| 7.1 | Michelangelo Merisi, called Caravaggio, Rest on the Flight into Egypt, c.1597, oil on canvas | 276 |
| 7.2 | Michelangelo Merisi, called Caravaggio, Rest on the Flight into Egypt (detail), c.1597, oil on canvas | 279 |
| 7.3 | “Armonia”, 1603, print on paper | 280 |
| 7.4 | Cornelis Cort after Frans Floris, Auditus, 1561, engraving | 282 |
| 7.5 | Giovanni Girolamo Savoldo, Flute Player, c.1539, oil on canvas | 285 |
| 7.6 | Johannes Sadeler after Marten de Vos, St. Cecilia, 1585, engraving | 286 |
| 7.7 | Michelangelo Merisi, called Caravaggio, The Musicians, 1595, oil on canvas | 288 |
| 7.8 | Taddeo Crivelli, St. Gregory, c.1469, tempera and gold leaf on parchment | 290 |
| 8.1 | Andrea del Sarto, Charity (detail), c.1513 | 304 |
| 8.2 | Jacopo Sansovino, Madonna (Virgin and Child), c.1510–1511, wax, gilded canvas | 306 |
| 8.3 | Jacopo Sansovino, Charity, c.1513, terracotta | 307 |
| 8.4 | Jacopo Sansovino, Charity, c.1513, terracotta | 307 |
| 8.5 | Andrea del Sarto, frescos in the Chiostro dello Scalzo, Florence, c.1511–1526 | 312 |
| 8.6 | Andrea del Sarto, frescos in the Chiostro dello Scalzo, Florence, c.1511–1526 | 312 |
| 8.7 | Jacopo Sansovino, Madonna (Virgin and Child) (detail), c.1510–1511, wax, gilded canvas | 316 |
| 8.8 | Andrea del Sarto, Baptism of Christ, c.1511/13, fresco | 319 |
| 8.9 | Andrea Sansovino, Baptism of Christ, 1502–1505, marble | 319 |
| 8.10 | Andrea del Sarto, John the Baptist Preaching in the Desert (detail), c.1515, fresco | 323 |
| Andrea del Sarto, The Tribute to Caesar, c.1519/21, brush in brown and gray over black chalk, heightened with white, on brown primed paper | 324 | |
| 8.12 | Andrea del Sarto, The Baptism of the People, c.1515, fresco | 325 |
| 8.13 | Andrea del Sarto, John the Baptist Preaching in the Desert, c.1515, fresco | 325 |
| 8.14 | Albrecht Dürer, Ecce Homo, from The Passion, 1512, engraving | 326 |
| 8.15 | Andrea del Sarto, Arrest of John the Baptist, c.1517, fresco | 327 |
| 8.16 | Andrea del Sarto, Charity, c.1513, fresco | 331 |
| 9.1 | Der Kleine Dom (Little Cathedral) (interior view), Cologne, c.1360 | 351 |
| 9.2 | Der Kleine Dom (Little Cathedral) (exterior view), Cologne, c.1360 | 352 |
| 9.3 | Rogier van der Weyden, The Descent from the Cross, before 1443, oil on wood | 361 |
| 9.4 | Master of the Bartholomew Altarpiece, Crucifixion Altarpiece (exterior view), c.1490/95, oak | 363 |
| 9.5 | Master of the Bartholomew Altarpiece, Crucifixion Altarpiece (exterior view), c.1490/95, oak | 369 |
| 9.6 | Master of the Bartholomew Altarpiece, Crucifixion Altarpiece (interior view), c.1490/95, oak | 370 |
| 9.7 | Master I.A.M. of Zwolle, Memento Mori: A Skeleton in a Niche, late 15th century, engraving | 372 |
| 10.1 | Carel van Savoyen, Jan Jansz de Doot, oil on canvas | 384 |
| 10.2 | Anonymous, Bladder Stone and Cutting Blade of Jan De Doot, in Nicolaes Tulp, Observationes Medicae, 1652 | 385 |
| 10.3 | Tilman Riemenschneider, Tomb of Emperor Henry II and His Wife Kunigunde, tomb, Solnhofen marble | 390 |
| 10.4 | Tilman Riemenschneider, The Removal of the Stone, relief on the imperial tomb, Bamberg Cathedral | 391 |
| 10.5 | Tilman Riemenschneider, Miracle of the Crystal Bowl, relief on the imperial tomb, Bamberg Cathedral | 395 |
| 10.6 | Georg Bartisch, The First and Noblest Instrument, 1575 pen and ink drawing | 399 |
| 10.7 | Hendrick Goltzius, Goltzius’s Right Hand, 1588, pen and ink drawing | 400 |
| 10.8 | Georg Bartisch, Three Cutting Blades, 1575, pen and ink drawing | 404 |
| 10.9 | Georg Bartisch, Bladder Incision According to the Marian Method, 1575, pen and ink drawing | 405 |
| 11.1 | Pirro Ligorio and Jacopo Barozzi da Vignola, Leaning House, 1565–1570 | 422 |
| 11.2 | Vitruvius and Fra Giovanni Giocondo, Opus icertū; opus reticulatum, c.1511, woodcut | 428 |
| 11.3 | Cesare Cesariano[?], Searching for Groundwater, c.1521, woodcut | 429 |
| 11.4 | Allegory of the Architect in his Study, c.1556, woodcut | 431 |
| Cosimo Bartoli (inventor), Opus reticulatum and opus quadratum, c.1550, woodcut | 433 | |
| 11.6 | Georgius Agricola (inventor?), Blasius Weffring, Hans Rudolf Manuel Deutsch, or unknown artist (draftsman), and Zacharias Specklin or unknown artist (woodblock cutter), Sorting and Cleaning of Ores, c.1556, woodcut | 435 |
| 11.7 | Anonymous French draftsman, Pantheon, portico, Corinthian column capital, projection, plan, and details; column shaft, profile; beam architrave, elevation (recto), Goldschmidt Scrapbook, early to mid-sixteenth century, dark brown ink, black chalk, and incised lines | 437 |
| 11.8 | Basalt Columns, c.1565, hand-coloured woodcut | 438 |
| 11.9 | Cornelius Schwindt or member of Aldrovandi workshop (inventor), Cristofo Coriolano (woodblock cutter), Alabastrites maculis fluuium imitans, before c.1648, woodcut | 441 |
| 11.10 | Workshop of Bernard Palissy, elongated brick fragment with marbled rocaille, 1550–1575, ceramic and glaze | 444 |
| 12.1 | Jan van Eyck, The Annunciation Diptych, c.1433–1435, oil on panel | 457 |
| 12.2 | Rogier van der Weyden, Annunciation, The Beaune Altarpiece, c.1445–1450, oil on oak | 459 |
| 12.3 | Giotto, narrative panels with virtues and vices, c.1305, fresco cycle | 462 |
| 12.4 | Giotto, Inconstantia, narrative panels with virtues and vices, c.1305, fresco cycle | 463 |
| 12.5 | Fra Angelico, Annunciation, c.1430–1432, tempera on panel | 465 |
| 12.6 | Andrea del Castagno, Last Supper, 1445–1450, fresco | 466 |
| 12.7 | Entrance of the Chapel of the Cardinal of Portugal (Cappella del Cardinale del Portogallo), 1460–1468 | 467 |
| 12.8 | Chapel of the Cardinal of Portugal (Cappella del Cardinale del Portogallo), 1460–1468 | 468 |
| 12.9 | Antonio and Piero del Pollaiuolo, Cardinal del Portogallo altarpiece, c.1466, tempera and oil on oak panel | 471 |
| 12.10 | Alesso Baldovinetti, Annunciation, c.1466, fresco | 472 |
| 12.11 | Antonio Rossellino, Tomb of Cardinal James of Lusitania, c.1466 | 473 |
| 12.12 | Stefano di Bartolommeo, geometric flooring of the Chapel of the Cardinal of Portugal, 1460–1468 | 475 |
| 12.13 | Luca della Robbia, ceiling decoration, glazed terracotta, Chapel of the Cardinal of Portugal, 1460–1468 | 476 |
| 12.14 | Antonio Rossellino, Tomb of Cardinal James of Lusitania (detail), c.1466 | 478 |
| 12.15 a | Bernardino di Porfirio da Leccio (sculptor) and Giorgio Vasari (designer), Pietre Dure Tabletop (Tavolino di Gioie), c.1568–1577, marble encrusted with semi-precious stones | 482 |
| Side view 12.15a | 483 | |
| 12.16 | Anonymous Roman sculptor, Philip II’s Tabletop, before 1587, inlay (agate, jasper, lapis lazuli, Africano marble, white marble) | 485 |
| 12.17 | Anonymous Roman sculptor, Tabletop of don Rodrigo Calderón, c.1600, inlay (alabaster, lapis lazuli, Africano marble, white marble, polychrome marble, Paragone) | 486 |
| 12.18a | Jacopo Barozzi da Vignola (Design), Guglielmo della Porta (Marble piers), Giovanni Mynardo (Pietre Dure top), The Farnese Table, c.1565–1573, inlay (marble of different colors, semiprecious stones, Egyptian alabaster, residue of paint of different colors on the piers) | 486 |
| 12.8b | Detail 12.18a | 487 |
| 12.18c | Tabletop, detail 12.18a | 487 |
In: Synagonism: Theory and Practice in Early Modern Art
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Yannis Hadjinicolaou
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