24

Storia della vita e tragica morte di Bianca Cappello, Berlin 1776, and Johann Philipp Siebenkees
(Gotha 1789). Special attention was focused on her in the

19th

century both in the figurative arts and
in numerous theatre scripts. For a review of the publications up to the start of the

19th

century, see
Emmanuele A. Cicogna, Bianca Cappello cenni storico-critici di Emmanuele Cigogna viniziano,
Venice, Picotti, 1828.
7

Emmanuele A. Cicogna, Delle Inscrizioni Veneziane raccolte et illustrate, 6 vols., Venice 1824-1853,
vol. 2, 1827, pp. 200-212; Cicogna 1828 (see note 6).
8

For a chronology of the Florence events about and around Bianca, see the register by Luciano Berti,
Il principe dello studiolo. Francesco I dei Medici e la fine del Rinascimento fiorentino, Florence
1967.
9

Maria Fubini Leuzzi, Straniere a corte. Dagli epistolari di Giovanna d’Austria e Bianca Cappello,
in: Per lettera. La scrittura epistolare femminile tra archivio e tipografia secoli XV-XVII, ed. Gabriella
 Zarri, Rome 1999, pp. 413-440.
10

Francesco Sansovino dedicated his Venezia città nobilissima e singolare (Venice 1581) to Bianca.
Jacqueline Marie Musacchio, Objects and Identity. Antonio de’ Medici and the Casino at San Marco
 in Florence, in The Renaissance World, ed. John Jeffries Martin, New York 2007, pp. 481-500; on
the relations with Tasso see Cicogna 1827 (see note 7), pp. 209-210.
11

Fubini Leuzzi 1999 (see note 9), pp. 433-434.
12

Ibid., p. 440.
13

Palazzo Trevisan Cappello is in the San Marco district behind the current patriarchal palace.
14

Francesco Molin, Compendio di me Francesco da Molino [...] delle cose che repputerò degne […],
manuscript, Biblioteca Nazionale Marciana, Venice, Mss It VII 553 (8812), fol. 101-136.
15

Raffaello Gualterotti, Feste nelle nozze del Serenissimo D. Francesco Medici Gran Duca di Toscana,
e della Sereniss. sua Consorte la Signora Bianca Cappello, Giunti, Florence, 1579.
16

Musacchio 2007 (see note 10), p. 483.
17

Relazione di ser Anzolo Badoer sul ragionamento che ebbe a Firenze con Bianca Cappello, Honorary
 publication, Nozze Bonazza Ruol, Venice 1900.
18

See also Molin’s Compendio (see note 14). Various studies have been made on the question of the
supposed poisoning, including most recently Francesco Mari, Aldo Polettini, Donatella Lippi, Elisabetta
 Bertol, The mysterious death of Francesco I de’ Medici and Bianca Cappello: an arsenic
murder? in: British Medical Journal 333, 2006, 1299 (http://www.bmj.com/content/333/7582/1299);
Gaëlle Rosendahl and Donatella Lippi, Francesco I, in: exh. cat. Die Medici. Menschen, Macht und
Leidenschaft, ed. Alfred Wieczorek, Gaëlle Rosendahl, Donatella Lippi, Mannheim 2013.
19

Dallas, Museum of Arts, inv.no. 1987.11 128.42 x 100.48 cm, attrib. to Alessandro Allori; Bologna,
Musei civici di arte antica, inv.no. P 9, 97 x 79.5 attrib. to Lavinia Fontana; Florence, Galleria Palatina,
 inv.no. 2240, 95.5 x 70.5 wrongly attrib. to Alessandro Allori; formerly London, Sphinx
Gallery.
20

For the list of portraits see Karla Langedijk, The Portraits of the Medici

15th-18th

Centuries, 3 vols.,
Florence 1981-1987, vol. I, 1981, pp. 314-327, but whose attributions are questionable.
21

Alexandra Dern, Scipione Pulzone (c. 1546-1598), Weimar 2004; Antonio Vannugli, Scipione
Pulzone ritrattista. Traccia per un catalogo ragionato, in: exh. cat. Scipione Pulzone 2013 (see note
2), pp. 25-63.
22

He pays the Taxae viariae and so must have reached his majority. See Vannugli 2013 (see note 21),
p. 27.
23

Pierluigi Leone de Castris, Le cardinal Granvelle et Scipione Pulzone, in: Les Granvelle et l’Italie
au XVIe siècle, ed. Jacqueline Brunet and Gennaro Toscano, pp. 175-188, Besançon 1996, 175-188.
24

London, Courtauld Gallery, inv.no. P.1947.LF.332; Besançon Musée du Temps, inv.no.1694.1.4;
both shown as illustrations in: exh. cat. Scipione Pulzone 2013 (see note 2), 274-277.
25

Leone de Castris 1996 (see note 23), 175.
26

Gian Paolo Lomazzo, Trattato dell’arte della  pittura, scoltura et archittetura, ed. Roberto Ciardi,
Florence 1973 (1584), p. 379.
27

Raffaello Borghini, Il Riposo, Milan 1584, p. 578.
28

Giovanni Baglione, Le Vite de’ Pittori […], Naples 1733 (Rome 1642), pp. 50-51.
29

Gianni Carlo Sciolla »Alcuni lo chiamavano il Van Dyck della scuola romana«. L’arte di Scipione
Pulzone: appunti sulla ricezione antica e sulle interpretazioni critiche moderne, in: exh. cat. Scipione
 Pulzone 2013 (see note 2), pp. 175-189.
30

Federico Zeri, Pittura e Controriforma. L’arte senza tempo di Scipione da Gaeta, Turin 1957, p. 15.
The recent monographic exhibition held in Gaeta summarised what is known about Scipione
Pulzone presenting an interesting selection of portraits and reconsidering the production of religious
 paintings: see exh. cat. Scipione Pulzone 2013 (see note 2), pp. 175-189.
31

Elsje van Kessel has reconstructed the history of the portrait of Bianca in exemplary fashion in her
thesis The Social Lives of Paintings, Leiden University, 2011, pp. 191-241 (https://openaccess.leidenuniv.nl/bitstream/handle/1887/18182/Thesis_Van_Kessel.pdf?sequence=2
 ) and has studied the
question of the theatrical staging of the portrait in Venice in Staging Bianca Capello: Painting and
Theatricality in Sixteenth-Century Venice, in: Theatricality in Early Modern Art and Architecture,
ed. Caroline van Eck and Stijn Bussels (Art History special issues), Chichester 2011, pp. 78-91.
32

Castellani were governors of the Republic who worked in military areas.
33

Chief customs authority. I am grateful to Vittorio Mandelli for the reconstruction of Bembo’s career.