Cosimo de' Medici's Patronage of Architecture and the Theory of Magnificence

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Cosimo de' Medici's Patronage of Architecture and the Theory of Magnificence

Author(s): A. D. Fraser Jenkins

Source: 

Journal of the Warburg and Courtauld Institutes, Vol. 33 (1970), pp. 162-170

Published by: The Warburg Institute

Stable URL: http://www.jstor.org/stable/750894

Accessed: 13-09-2016 14:03 UTC

 

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This content downloaded from 128.252.25.60 on Tue, 13 Sep 2016 14:03:48 UTC

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This content downloaded from 128.252.25.60 on Tue, 13 Sep 2016 14:03:48 UTC

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This content downloaded from 128.252.25.60 on Tue, 13 Sep 2016 14:03:48 UTC

All use subject to http://about.jstor.org/terms

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This content downloaded from 128.252.25.60 on Tue, 13 Sep 2016 14:03:48 UTC

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This content downloaded from 128.252.25.60 on Tue, 13 Sep 2016 14:03:48 UTC

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This content downloaded from 128.252.25.60 on Tue, 13 Sep 2016 14:03:48 UTC

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This content downloaded from 128.252.25.60 on Tue, 13 Sep 2016 14:03:48 UTC

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This content downloaded from 128.252.25.60 on Tue, 13 Sep 2016 14:03:48 UTC

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Document Outline

• Contents
  • 162
  • 163
  • 164
  • 165
  • 166
  • 167
  • 168
  • 169
  • 170
• Issue Table of Contents
  • Journal of the Warburg and Courtauld Institutes, Vol. 33 (1970), pp. 1-368
    • Volume Information [pp. 354-368]
    • Front Matter
    • Representations of the Temple of Jerusalem before 1500 [pp. 1-19]
    • Notes on Some Didactic Illustrations in the Margins of a Twelfth-Century Psalter [pp. 20-40]
    • The Beasts from Job in the Liber Floridus Manuscripts [pp. 41-51]
    • The Two Caves of Love in the Tristan by Thomas [pp. 52-69]
    • The Reconstruction of Nicola Pisano's Perugia Fountain [pp. 70-83]
    • The Mosaics of Pietro Cavallini in Santa Maria in Trastevere [pp. 84-106]
    • The Compagnia de' Magi [pp. 107-161]
    • Cosimo de' Medici's Patronage of Architecture and the Theory of Magnificence [pp. 162-170]
    • Hieronymus Bosch in Some Literary Contexts [pp. 171-199]
    • Henry the Younger of Brunswick-Wolfenbüttel. Wild Man and Werwolf in Religious Polemics 1538-1544 [pp. 200-234]
    • The Meaning of Veronese's Paintings in the Church of San Sebastiano in Venice [pp. 235-247]
    • The Iconography of Silence and Chapman's Hercules [pp. 248-263]
    • Francis Bacon, Natalis Comes and the Mythological Tradition [pp. 264-291]
    • Rembrandt's 'Polish Rider' and the Prodigal Son [pp. 292-303]
    • Notes
      • Blind Cupid [pp. 304-305]
      • An 'Ascent of Alexander' [pp. 305-307]
      • William of Sens and the Double Columns at Sens and Canterbury [pp. 307-313]
      • An Iconographic Note on Raphael's Galatea [pp. 313-315]
      • Tintoretto and the Roman de la Rose [pp. 315-317]
      • An Iconographical Puzzle: Spenser's Cupid at Faerie Queene, VII, viii [pp. 317-321]
      • Sidney's Personal Imprese [pp. 321-324]
      • Daniel's Delia and the Imprese of Bishop Paolo Giovio: Some Iconological Influences [pp. 325-328]
      • Salvator Rosa's Engraving for Carlo de' Rossi and His Satire, Invidia [pp. 328-330]
      • William III and Sir Godfrey Kneller [pp. 330-336]
      • Rhodes: Sir William to Sir Walter. Notes to Save Sir Walter Scott the Trouble of Looking out Information about Rhodes. W. Gell, 1832 [pp. 336-343]
      • The Subject of Millais's Christ in the House of His Parents [pp. 343-345]
      • An Unpublished Petition Exemplifying the Oneness of the Community of Nineteenth-Century French Artists [pp. 345-353]
    • Back Matter