Skip to Main Content
22/25

Notes

  1. Archivio di Stato (ASR), TNC, uff. 15, 1624, pt. 4, vol. 102, fols. 210r–v, 211r–v, 219r; ASR, TNC, uff. 15, 1627, pt. 3, vol. 113, fols. 27r–v, 28r–v, 41r–v; ASR, TNC, uff. 15, 1633, pt. 1, vol. 135, fols. 516r–v, 517r–v, 544r–v. All documents from the Archivio di Stato di Roma are found in the Trenta Notai Capitolini (TNC), Ufficio (Uff.) 15, and are transcribed on The History of the Accademia di San Luca, c. 1590–1635: Documents from the Archivio di Stato di Roma.

  2. ASR, TNC, uff. 15, 1633, pt. 1, vol. 135, fols. 516r–v, 517r–v, 544r–v; Zygmunt Wazbinski, Il Cardinale Francesco Maria del Monte: 1549–1626 (Florence, 1994), 2:558–566; Peter M. Lukehart, ed., “Appendix: Documents and Primary Sources Relating to the Early History of the Accademia di San Luca and the Università dei Falegnami,” in The Accademia Seminars: The Accademia di San Luca in Rome, c. 1590–1635, CASVA Seminar Papers 2 (Washington, DC, 2009), 376–380; Marica Marzinotto, “La collezione dei ritratti accademici: Origine, incrementi e definizione dei modelli iconografici nei secoli XVI e XVII,” in Atti dell’Accademia Nazionale di San Luca (Rome, 2009–2010), 218–220.

  3. Giovanni Incisa della Rocchetta, La collezione dei ritratti dell’Accademia di San Luca (Rome, 1979), 35; Marco Pupillo, “Gli incisori di Baronio. Il maestro ‘MGP,’ Philippe Thomassin, Leonardo e Girolama Parasole (con una nota su Isabella/Isabetta/Elisabetta Parasole),” in Baronio e le sue fonti, ed. Luigi Gulia (Sora, 2009), 846–847; Evelyn Lincoln, “The Parasole Family Enterprise and Book Illustration at the Medici Press,” in The Medici Oriental Press: Knowledge and Cultural Transfer around 1600, ed. Eckhard Leuschner and Gerhard Wolf (Florence, 2022), 118.

  4. Gian Ludovico Masetti Zannini, Stampatori e Librai a Roma nella seconda metà del Cinquecento (Rome, 1980), 214–219; Christopher Witcombe, Copyright in the Renaissance: Prints and the Privilegio in Sixteenth-Century Venice and Rome (Boston, 2004), 209–210.

  5. Pupillo 2009, 846–847; Dizionario biografico degli Italiani, “Parasole Cagnaccia, Geronima,” by Maria Rosario Mancino, accessed May 16, 2024.

  6. Giovanni Baglione, Le vite de’ pittori, scultori, et architetti. Dal pontificato di Gregorio XIII del 1572. In fino a’ tempi di Papa Urbano Ottavo nel 1642 (Rome, 1642), 394–395; Lincoln 2022, 102–103; Furio Rinaldi, “The Roman Maniera: Newly Identified Drawings,” Metropolitan Museum Journal 52 (2017): 136–141, esp. n. 30; Francesca di Castro, “Isabella Catanea Parasole e il ‘Teatro delle nobili et virtuose donne,’” Strenna dei Romanisti 45 (2004): 240n19; Enciclopedia delle Donne, “Elisabetta e Girolama Parasole,” by Annalisa Rinaldi, accessed January 24, 2022.

  7. Antonio Agustín, Dialoghi di Don Antonio Agostini arcivescovo di Tarracona intorno alle medaglie, inscrittioni et altre antichità (Rome, 1592), 125; Cesare Baronio, Annales Ecclesiastici (Rome, 1594), 2:209; Antonio Gallonio, De SS. martyrvm crvciatibvs (Rome, 1594), 44.

  8. Lincoln 2022, 112.

  9. Giovanni Incisa della Rocchetta and Nello Vian, eds., Il primo processo per San Filippo Neri (Vatican City, 1958), 2:213n1434; Museo di Palazzo Venezia, La Regola e la fama: San Filippo Neri e L’arte (Milan, 1995), 96, 497, 513; Pupillo 2009, 844n39; Evelyn Lincoln, “Invention, Origin and Dedication: Republishing Women’s Prints in Early Modern Italy,” in Making and Unmaking Intellectual Property, ed. Mario Biagioli, Peter Jaszi, and Martha Woodmansee (Chicago, 2011), 347–349; Lia Markey, “The Female Printmaker and the Culture of the Reproductive Print Workshop,” in Paper Museums: The Reproductive Print in Europe 1500–1800, ed. Rebecca Zorach and Elizabeth Rodini (Chicago, 2005), 56–58; Witcombe 2004, 209–213; Oliver Tostmann, “Isabella Catanea Parasole,” in By Her Hand: Artemisia Gentileschi and Women Artists in Italy, 1500–1800, ed. Eve Straussman-Pflanzer and Oliver Tostmann (Detroit, 2021), 99–100.

  10. Baglione 1642, 11, 52, 71, 73, 100, 106, 109, 119, 122, 126, 129, 133, 134, 139, 143, 147, 148, 159, 288, 292, 294, 306, 316, 321.

  11. Incisa della Rocchetta 1979, 13; Pietro Roccasecca, “Teaching in the Studio of the ‘Accademia del Disegno dei pittori, scultori, e architetti di Roma’ (1594–1636),” in Lukehart 2009, 142.

  12. Guido Rebbecchini, “Evidence: Inventories,” in Display of Art in the Roman Palace 1550–1750, ed. Gail Feigenbaum with Francesco Freddolini (Los Angeles, 2014), 27–28.

  13. Jessica Keating and Lia Markey, “Introduction: Captured Objects Inventories of Early Modern Collections,” Journal of the History of Collections 23, no. 2 (2011): 209–213.

  14. ASR, TNC, uff. 15, 1624, pt. 4, vol. 102, fols. 184r–v, 185r–v, 198r–v.

  15. ASR, TNC, uff. 15, 1624, pt. 4, vol. 102, fols. 210r–v, 211r–v, 219r; Wazbinski 1994, 2:369–375; Lukehart 2009, 369–372.

  16. Peter M. Lukehart, “Visions and Divisions in the Early History of the Accademia di San Luca,” in Lukehart 2009, 173–174; Roccasecca 2009, 141–142.

  17. ASR, TNC, uff. 15, 1627, pt. 3, vol. 113, fols. 27r–v, 28r–v, 41r–v; Lukehart 2009, 372–375.

  18. ASR, TNC, uff. 15, 1633, pt. 1, vol. 135, fols. 516r–v, 517r–v, 544r–v; Wazbinski 1994, 2:558–566; Marzinotto 2009–2010, 218–220; Lukehart 2009, 376–380.

  19. Incisa della Rocchetta 1979, 25–42, 111–147. For a discussion on the importance of the donation of artworks by the artists’ own hands, see Peter M. Lukehart, “By Honor or by Merit: Women Artists in the Accademia di San Luca, c. 1600–1700,” in Art Academies in Europe and the Americas, 1600–1900, ed. Peter M. Lukehart, Ulrich Pfisterer, and Oscar Vázquez (2026).

  20. Marzinotto 2009–2010, 220, 223; Incisa della Rocchetta 1979, 13n6.

  21. Cesare Ripa, Della novissima iconologia (Padua, 1625), n.p.

  22. Roccasecca 2009, 142–147.

  23. Wazbinski 1994, 2:551–565.

  24. Lukehart 2009, 165–174, 184.

  25. Roccasecca 2009, 124–127.

  26. Cited in Patricia Fortini Brown, “Children and Education,” in At Home in Renaissance Italy, ed. Marta Ajmar-Wollheim and Flora Dennis (London, 2006), 136–143.

  27. Adelina Modesti, “‘A casa con i Sirani’: A Successful Family Business and Household in Early Modern Bologna,” in New Perspectives on the Early Modern Italian Interior, 1400–1700, ed. Stephanie Miller, Elizabeth Carroll Consavari, and Erin Campbell (Burlington, VT, 2013), 47–64.

  28. William Stenhouse, “Visitors, Display, and Reception in the Antiquity Collections of Late-Renaissance Rome,” Renaissance Quarterly 58, no. 2 (Summer 2005): 397–434.

  29. “Introduction,” in Feigenbaum 2014, 1–24.

  30. Christiane L. Joost-Gaugier, “The Early Beginnings of the Notion of ‘Uomini Famosi’ and the ‘De Viris Illustribus’ in Greco-Roman Literary Tradition,” Artibus et Historiae 3, no. 6 (1982): 97–115.

  31. Marzinotto 2009–2010, 198.

  32. Baglione 1642, 73, 288, 294; Incisa della Rocchetta 1979, 34, 37, 38; Marzinotto 2009–2010, 258.

  33. Biblioteca Marucelliana, Volume H, 2r, 3r, 4r, 5r, 9r, 16r; Wazbinski 1994, 2:56–59.

  34. Mark McDonald, The Paper Museum of Cassiano Dal Pozzo: A Catalogue Raisonné, vol. 2, The Print Collection of Cassiano dal Pozzo: Ceremonies, Costumes, Portraits and Genre (London, 2017), 2:913–917.

  35. Incisa della Rocchetta 1979, 30, 31, 33, 38.

  36. Incisa della Rocchetta 1979, 38.

  37. Marzinotto 2009–2010, 207.

  38. Baglione 1642, 122.

  39. Incisa della Rocchetta 1979, 32, 37.

  40. ASR, TNC, uff. 11, 1598, pt. 4, vol. 40, fol. 415r–v;
    ASR, TNC, uff. 15, 1612, pt. 3, vol. 55, fol. 599r–v;
    ASR, TNC, uff. 15, 1624, pt. 4, vol. 102, fols. 184r–v, 185r–v, 198r–v.

  41. Madeleine C. Viljoen, “Prints,” in Making Her Mark: A History of Women Artists in Europe, 1400–1800, ed. Andaleeb Badiee Banta, Alexa Griest, and Theresa Kutasz Christensen (Baltimore, 2023), 220.

  42. Pietro Paolo de Ribera, Le Glorie Immortali de’ Trionfi, et Heroiche Imprese di Ottocento Quarantacinque Donne Illustri antiche e moderne dotate di conditioni, e scienze segnalate (Venice, 1609), 313–316; cited in Julia Dabbs, Life Stories of Women Artists, 1550–1800: An Anthology (New York, 2009), 1–20, 106–111.

  43. Lincoln 2022, 117–118.

  44. ASR, TNC, uff. 11, 1593, pt. 1, vol. 25, fols. 425r–v, 426r–v, 427r–v; Lukehart 2009, 171.

  45. Lukehart 2026.

  46. Monica Grossi and Silvia Tranni, “From Universitas to Accademia: Notes and Reflections on the Origins and Early History of the Accademia di San Luca Based on Documents from Its Archives,” in Lukehart 2009, 31, 36. See also Lukehart 2026.

  47. Lincoln 2022, 115.

  48. Baronio 1594, 2:209; Lincoln 2022, 105.

  49. Giuseppe Antonio Guazzelli, “Cesare Baronio and the Roman Catholic Vision of the Early Church,” in Sacred History: Uses of the Christian Past in the Renaissance World, ed. Simon Ditchfield, Howard Louthan, and Katherine Elliot Van Liere (Oxford, 2012), 52–55; Lincoln 2022, 105–108.

  50. Dizionario biografico degli Italiani, “Parasole Cagnaccia, Geronima”; Lincoln 2022, 103–105.

  51. Gallonio 1594, 44; Lincoln 2022, 108–109.

  52. Romano Alberti, Origine, et progresso dell’Academia del dissegno de pittori, sculptori e architetti di Roma (Pavia, 1604), n.p.; cited in Marcello Beltramme, “Le teoriche del Paleotti e il friformismo dell’Accademia di San Luca nella politica artistica di Clemente VIII (1592–1605),” Storia dell’arte 69 (1990): 202; cited in Lukehart 2009, 171, 177–178.