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In the early drawings of Apollo, much of the left forearm and some of the right hand are missing. However, in 1532, Giovan Angelo Montorsoli makes additions to the marble itself. 103 In the early 1550s, with the advice of Vasari, the statue of Ariadne is relocated for protection inside a courtyard and set up as a fountain in a niche, as indicated in a drawing by Francisco de Hollanda in his Codex Escurialensis. Moreover, in the vita of Titian, Vasari comments on how the Venetian painter makes use of Hollanda’s drawing for the Bacchanal of 1518, now in the Prado Museum.

53 And Vasari declares in the Preface Three that rebirth is inherent in the very nature of the arts as they progress from modest beginnings to the summit of perfection. Having achieved rebirth and perfection, art no longer needs to repeat a cyclical movement. 55 The Assimilation of Classical Art This section analyzes another aspect of Vasari’s historical view: his assimilation of the history of ancient or classical art. Vasari’s avidity for classical art is manifested in his writings as well as in his pictorial art.

29 It is not surprising, then, that Vasari is considered to be the founder of the discipline of art history. Vasari clearly states his quest in Preface Two: In my biographies I have spent enough time discussing methods, skills, particular styles and the reasons for good, superior or pre-eminent workmanship; so here I shall discuss the matter in general terms, paying more attention to the nature of the times than to the individual artists. ”33 Vasari’s Vite are short biographies of painters, sculptors and architects of three centuries, with critical descriptions of their works and anecdotal artists’ stories.

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Agricoltura e ambiente by Carmignani

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