Lomazzo’s Aesthetic Principles Reflected in the Art of his Time

Rebecca Norris, Ph.D. (2014, University of Cambridge) is Adjunct Professor at Claremont Graduate University. She has published articles on North-Italian Renaissance art including “Women on the Edge: The Saletta delle Dame of the Palazzo Salvadego in Brescia” in The Music Room in Early Modern France and Italy (Oxford University Press, 2012).Lucia Tantardini, Ph.D. (2014, University of Cambridge) is a Department Lecturer in History of Art at the University of Cambridge and a Fellow of Clare Hall, Cambridge. She has published articles on Renaissance Milan and is working on two books: Aurelio Luini (ca. 1530–93). The Complete Paintings and Drawings (Bozzi, 2021), and Drawing in Renaissance Milan (Routledge, 2021).

• PrefaceLucia TantardiniForeword: Lomazzo's TempleRoberto Paolo CiardiAcknowledgementsList of Figures and MapsList of AbbreviationsNotes on ContributorsNotesChronology of Lomazzo’s Life and CareerIntroduction: Lomazzo Studies: Getting the Whole PictureJean Julia Chai1 ‘Oh blessed, excellent mind and hands!’: Lomazzo’s Admiration for Gaudenzio FerrariRossana Sacchi2 New Light on Lomazzo’s Artistic CareerMauro Pavesi3 Giovanni Ambrogio Brambilla: Poet, Painter, Draughtsman, and Printmaker between Milan and RomeAlessia Alberti4 Lomazzo vs. Luini: Comparative AestheticsLucia Tantardini5 ‘De la gran Cantona i chiari honori’: Caterina Cantoni, Lomazzo, and the Accademia della Val di BlenioSilvia Mausoli6 Lomazzo’s Two Pupils: ‘first is Figino, and then Ciocca’Federico Cavalieri and Mauro Pavesi7 Lomazzo’s Influence on Decorative Patterns in Sculptural Workshops Before and After 1600Paolo SanvitoAfterword: Lomazzo's ShadowAlexander MarrAppendicesBibliographyIndex of Proper NamesIndex of Places