Book , Print in English

On antique painting

Francisco de Hollanda ; translated by Alice Sedgwick Wohl ; introductory essays by Joaquim Oliveira Caetano and Charles Hope ; notes by Hellmut Wohl.
  • University Park, Pa. : Pennsylvania State University Press, ©2013.
  • xviii, 294 pages ; 24 cm.
Also known as
  • Early works.
  • "An English translation of Da pintura antiga by the sixteenth-century Portuguese artist Francisco de Hollanda, who was sent to Rome in 1538 by the Portuguese royal family to study art and architecture. Contains a treatise on painting and four dialogues, three featuring Michelangelo"--Provided by publisher.
  • Note on the Early Years of the Portuguese Empire / Alice Sedgwick Wohl
  • Francisco de Hollanda (1517-1584): The Fascination of Rome and the Times in Portugal / Joaquim Oliveira Caetano
  • Francisco de Hollanda and Art Theory, Humanism, and Neoplatonism in Italy / Charles Hope
  • On Antique Painting
  • Book I
  • Prologue
  • ch. I How God Was a Painter
  • ch. II What Painting Is
  • ch. III On the First Painters
  • ch. IV Which Was the Fatherland of Painting
  • ch. V When Painting Was Lost, and When It Was Rediscovered
  • ch. VI How the Holy Mother Church Preserves Painting
  • ch. VII What the Painter Must Be
  • ch. VIII What Sciences Are of Use to the Painter
  • ch. IX By What Means the Painter Must Learn
  • ch. X Second Thing from Which He Must Learn
  • ch. XI Difference of Antiquity
  • ch. XII Why Antique Painting Is Celebrated and What It Is
  • ch. XIII How the Precepts of Antique Painting Spread Through the Whole World
  • ch. XIV Concerning Some Precepts of Antiquity, and First, Concerning the Invention
  • ch. XV Concerning the Idea, What It Is in Painting
  • ch. XVI In What the Power of Painting Consists
  • ch. XVII Of the Proportion of the Body
  • ch. XVIII On Anatomy
  • ch. XIX On Physiognomy
  • ch. XX Precept for Antique Figures Standing Still
  • ch. XXI On Antique Figures That Move or Walk or Run or Fight
  • ch. XXII On Antique Figures That Are Seated and [Those That Are] Recumbent
  • ch. XXIII On Antique Equestrian Statues
  • ch. XXIV On the Ornament and Costume of the Ancients in Their Images
  • ch. XXV On Painting Animals
  • ch. XXVI On the Composition of Antique Historias
  • ch. XXVII On Painting Sacred Images, and First, Images of Our Savior
  • ch. XXVIII On Painting Images of the Invisible
  • ch. XXIX On the Divine Image
  • ch. XXX On Other Images of the Invisible, Such as the Virtues
  • ch. XXXI On Invisible Forms Such as the Vices
  • ch. XXXII On Painting Purgatory and Hell
  • ch. XXXIII On Painting Eternity and Glory, and the World
  • ch. XXXIV On Light or Brightness in Painting
  • ch. XXXV On Shade and Darkness in Painting
  • ch. XXXVI On Black and White
  • ch. XXXVII On the Colors
  • ch. XXXVIII On Decorum or Decency
  • ch. XXXIX On Perspective
  • ch. XL On the Point at Which the Painting Converges
  • ch. XLI On Foreshortening
  • ch. XLII On Statuary Painting or Sculpture
  • ch. XLIII PART 1: On Painting as Architect
  • ch. XLIII PART 2: On Painting as Architect
  • ch. XLIV PART 1: On All the Types and Modes of Painting
  • ch. XLIV PART 2: On All the Types and Modes of Painting
  • Table of Some Rules for Painting
  • Book II
  • Prologue
  • First Dialogue
  • Second Dialogue
  • Third Dialogue
  • Fourth Dialogue
  • Table of the Famous Modern Painters Whom They Call Eagles
  • Proverbs About Painting
  • Remembrance.
Other information
  • Includes bibliographical references and index.
  • Eisenhower copy: Purchased with funds from the Martin B. and Carol M. Macht Endowed Book Fund; FY2015.
  • 9780271059655 (cloth : alk. paper)
  • 0271059656 (cloth : alk. paper)
Identifying numbers
  • LCCN: 2012051316
  • OCLC: 825399661
  • OCLC: 825399661