He was soon the prize pupil of the class Tita Ruffo was another student at the same institute. He appeared at the Teatro Lirico and La Scala for eight seasons. He was in formidable company where br. After he joined the ensemble of the Met and remained there as leading br. He created roles in several operas: He had a repertoire of nearly roles! He was an outstanding actor and was particularly acclaimed in character- and buffo roles.
He sang the whole Verdi and Puccini repertoire. Apart from that he was successful as Wolfram and Beckmesser.
He was a great Mozart singer Don Giovanni, Figaro. His career lasted almost five decades! He was an artist who combined exquisite musicality and taste with a voice of rare distinction. His cultivated tone production, his legato technique and, not least, his pellucid diction make him paragon of vocal virtues He used his voice with great skill. There is a wonderful nobility in his manner, and his singing commands attention by virtue of it as well as by its beauty. He had a strong sense of duty and always sang what was within the possibilities of his voice.
De Luca was a prolific recording artist he recorded from the very beginning until the end of his career. I cannot mention all his great recordings, but as a start I would recommend the Fonotipia recordings from and His voice got extremely well with the recording process. He makes the buffo- and character roles to the best ever recorded Malatesta, Barbiere and Chronology of some appearances.
Monologo di Michonet b. Re di Lahore Massenet: Ballo in Maschera Verdi: Eri tu che macchiavi b. Come il romito fior b. Bella siccome un angelo b.
Il libro è il reportage di uno studio di ricerca sul personaggio storico di Ser Gianni Caracciolo, vissuto a Napoli, a cavallo fra il e il , e che fu. Results 1 - 16 of 19 Annali Di Antonio de Rossi Stampatore in Roma (). 1 Jan Messer Gianni Caracciolo: Il favorito della regina (Italian Edition).
Damnation de Faust Berlioz: Canzone della pulce xPh Su queste rosa xPh Cheti, cheti immantinente with Ferruccio Corradetti XPh Aspetta, aspetta cara sposina with Ferruccio Corradetti XPh Bella siccome un angelo xPh Dio possente XPh Se all'egual di vaghi augelli XPh Il balen xPh Barbiere di Siviglia Rossini: Largo al factotum xPh Vien Leonora xPh Eri tu, che macchiavi xPh Deh, vieni alla finestra XPh Sei vendicata assai xPh O casto fior xPh Beyond the literary tradition, wives who were not just ambiguously abandoned but were simply widowed could also assume another sexual identity, exchanging convention for non-conformity.
Since it appeared to them that they could not live secure if they did not become masters of the fortress, and the castellan was not willing to give it to them, Madonna Caterina so the countess was called promised the conspirators that if they let her enter it, she would deliver it to them and they might keep her children with them as hostages.
And to show that she did not care for her children, she showed them her genital parts, saying that she still had the mode for making more of them. If many more children could be had, so, too, could much more power. A late sixteenth-century engraving of a Venetian courtesan hints at what Caterina may have kept hidden and what she may have let slip Fig. This was not an uncommon costume, according to Cesare Vecellio, who describes Venetian courtesan dress in his contemporaneous Habiti antichi e moderni di tutto il mondo, published in Venice in You are a man when you are chanced on from behind and a woman when seen from in front … Now please understand me right-side-up even if I say everything upside- down.
Your showing yourself sometimes visibly and sometimes invisibly has made me neglect the intellect of my tongue for the fantasy of my pen. Certain it is that nature has so compounded you of both sexes that in one moment you show yourself a male and in the next a female. For look you, you talk like a fair lady and act like a pageboy. Anybody who did know you would think that you are now the rider and now the steed — i.
What more can I say? Meanwhile, even Dukes and Duchesses are diverted by the entertainment of that very salty, very spicy prattle of yours. Vaporishly it escapes from your lips. Old Time is the fellow who rusts, wears out, consumes, devours, ruins, unhinges, foreshortens, breaks, lops away, cuts short, unmakes, spoils and slaughters everything, but he would not dare get into a contest with you. Cross-dressing enables La Zufolina — and Aretino — to have it both ways: But cross-dressing did not necessarily signify homosexuality; it could also suggest sexual availability, according to the author of Hic Mulier: Or, the Man-Woman, a popular pamphlet published, along with a rebuttal, Haec-Vir: Or, the Womanish- Man, in London in Women want to become husbands They seek to wear breeches, and dominate Poor virtue has almost been dispersed Because the world is all upside-down.
In this way, the widow, in her indeterminateness, might be read as hermaphroditic. And her performance, a reversal of normative behavior, not only underscores the arbitrariness of gender but, in so doing, also reveals her to be — like the one she impersonates — nothing but a fraud. In other words, it is the possibility of what those knickers reveal — or conceal — that gives women agency and, consequently, makes men anxious. Somewhere in between having and lacking, being and see m ing, she continues to slip in and out of categorization.
In sum, upon widowhood, there were many expectations but just as many opportunities, from remarriage to merriment. Still, one thing remains constant: Thus, the potential penetration of geographical, social and corporeal boundaries could and did cause considerable confusion within an otherwise strictly regulated urban landscape.
Thus she must restrain her eyes everywhere so that they do not see vain things, especially in church or in public places, otherwise she will be a source of scandal to herself and to her neighbours. If she is not defeated in the battle, she is surely under assault … there are some [widows] who are so corrupt and dishonorable that they render their decisions not according to fairness but motivated by shameless lust.
Despite such attempts to tie down the widow, other literary accounts, from Cini to Alberti to Dolce, as we have seen, suggest that she continued to evade containment, even if marginally. The cycloptic — omni m potent — Federigo? This is a story of di vision, of diverting the gaze from the severed body. Let me cut to the chase: If it sounds like I am beating around the bush, I am; so let me be even more blunt. The terror of Medusa is thus a terror of castration that is linked to the sight of something … it occurs when a boy, who has hitherto been unwilling to believe the threat of castration, catches sight of the female genitals, probably those of an adult, surrounded by hair, and essentially those of his mother.
Observe that we have here once again the same origin from the castration complex and the same transformation of affect! For becoming stiff means an erection. Thus in the original situation it offers consolation to the spectator: What arouses horror in oneself will produce the same effect upon the enemy against whom one is seeking to defend oneself … The erect male organ also has an apotropaic effect, but thanks to another mechanism. To display the penis or any of its surrogates is to say: I have a penis.
To put it another way, it is not the possession of the phallus which brings the castration complex into being, but the castration complex which privileges the phallus. If representations of castration can serve to protect the viewer against castration anxiety, it might by the same token be said that representations of the phallic woman protect the viewer against doubts about his masculinity. As such, she serves an apotropaic function. The widow is just a tease, but this is the terror — and that is a kick in the pants.
This next section is concerned with pictorial representation — not with how widows look back but, rather, with what widows look like. Moreover, I examine how those particular representations, in turn, might perpetuate or even complicate the culturally coded performance of mourning: How does the uncertain or ambiguous position of the widow within and beyond ritual inform her representation? I begin by re-introducing Alberti, who, in , made the following observation: What I clearly see as a newly separable category of female portraiture that is contingent upon early modern masculine anxiety has gone largely unnoticed.
Overall, widow portraiture tends to be noticeably static, though necessarily so; for this paradigm and its frequent repetition became a standard means of marking the social status of widowhood. For example, Caterina Sforza was married — and widowed — three times; different portrait medals were cast to commemorate her various states of widowhood.
By the sixteenth century, however, portraits had become commonplace in the home and were hung in the most public reception spaces, such as halls and galleries. If we use a Medici inventory of , we can make the following general assumptions about the placement of portraits, as determined by the sex of the sitter: In so doing, widow portraiture seems to forestall the potential transgressions of these single women; literally contained, they seem to occupy their proper place while performing their prescribed role as primary mourner. The next section will consider sartorial attempts to obscure the exposure of the widow while recognizing, there too, the inevitable blurring of sexual boundaries.
That is, the remainder of this chapter will attempt to undress the early modern widow, but only insofar as she is always already undressing herself. But what has remained buried — and what, perhaps, always has been obscured — is the cultural connotation of this costume. In other words, black dress does not always denote mourning but nor does it rule it out completely. They wear trimmings of four sorts — marten, weasel, fox or even sable — which are worn a lot in winter; also skins and furs of vair and sandal. Soled stockings and clogs are worn in all weathers, silk [under]shirts and hose of black cloth; to conclude, they wear black a lot.
And when they are in mourning for a dead relative, they wear shoes and a long gown with a hood over the shoulders, but only for a few days before they change back. By contrast, black dress for women, as prescribed by male writers at this time, marked them, at least on the surface, as we have seen, primarily as mourners. Purposefully tailoring a connection between the two identities, Catherine gained power formerly unavailable to her; moreover, this strategy enabled her to possess the virtues of a male ruler without losing the female virtues of an ideal widow.
Returning to La Monaca Fig. Intended to conceal female sexuality, the veil also confuses it. Meant to honor and preserve the chastity of the wearer, the veil, despite its protective purpose, is penetrable. Compare his Venetian widow Fig. Culturally obliged to wear the veil upon her widowhood as a sign of grief, she also used it to re-fashion herself a powerful ruler. Along the way, her political fortune may have faltered, but one thing that was never lost on Caterina Sforza was the power of performance.
Writing a year later, in , in a letter to her uncle, Lodovico Sforza, Duke of Milan, she conditionally admits defeat: He may be able to manage a second coming but only, as we shall see, by the skin of her teeth. For a summary of the plot, see Marvin T.
Routledge, , 1—70, citation at 51—52; the Italian reads: Buono Zaza del mio buon tempo 5xPh A critical examination of the realities of widowhood, both during and after mourning ceremonial, reveals a marked discrepancy between the rigidity of expectation and the ambiguity of experience. Second wife, Maria Judice, three chilidren The Quest for a Universal Language, trans. Giovanni Giocondo da Verona in his edition of Vitruvius , who may have. Anybody who did know you would think that you are now the rider and now the steed — i.
Rizzoli, , — Olschki, , esp. Karen Eales Cambridge and New York: Brunelleschi, Vasari, Buontalenti, Parigi Florence: Mostra di Disegni e Incisioni Florence: London and New York: Penguin, , —, citation at For the Italian, see Boccaccio, The Decameron, ed. Einaudi, , Renaissance Essays in Honor of C. Laterza, , — The Book of the Prick, ed. Ian Frederick Moulton New York: Routledge, , 1—70, citation at 51—52; the Italian reads: Center for Medieval and Early Renaissance Studies, , —97, citation at — Pendragon, , —22, citation at — Nostre sunt artes huiusmodi, nostrum hoc est ingenium, viros nostros minime malos decipere, fallere … fastidisse te urbem, rus animi causa divertisse dicemus … Volenti fallere mulieri nunquam deerit modus … Tu demum nobis obtempera.
Bibamus, rideamus atque amemus. The Italian can be found in Alberti, Intercenales, —23, citation at — Queste sono le nostre arti; in questo siamo davvero geniali: Virginia Cox Chicago and London: Eidos, , Brill, , See the following works by Isabelle Chabot: Others have examined the opportunities, consequences and strategies of remarriage. Medieval and Renaissance Texts and Studies, , 66— Medieval and Renaissance Texts and Studies, , — 18, citation at The Latin, also cited there, reads: The Italian, also cited there, reads: Portraits of the Renaissance New York: Atti del convegno in omaggio a Cesare Vecellio nel quarto centenario della morte Belluno: Provincia di Belluno, Archon Books, , For the Italian, see Aretino, Lettere, ed.
Einaudi, , — In tanto i Duchi e le Duchesse se intertengano con lo intertenimento delle vostre chiacchiare molto insalate e molto appetitose, sentenzie che fumano vi scappano di bocca e tra i denti. Di pinocchiato, di savonia e di marzapane sono le ciancie che voi date a qualunche si crede che voi siate una baia.
Within this context, see also Raymond B. Routledge, , 31, who adds: Is to be free and verbal, then, necessarily to be dressed like a man? Anti- theatricality and Effeminization, — Cambridge and New York: Routledge, , — Routledge, , 20— Alan Sheridan New York: Norton, , —91, citation at — Methuen, , 35—44, in which she posits that the woman, masking her masculinity by exaggerating her femininity, gains prolonged access into the masculine world.
Bennett and Amy M. Froide, eds, Singlewomen in the European Past, — Philadelphia: See also Caroline P. Centre for Reformation and Renaissance Studies, , —, citation at — For the Italian, see Savonarola, Operette Spirituali, ed. Belardetti, , 11—62, citation at 43— La fornicazione della donna si conosce nella elevazione e estollenzia degli occhi suoi. King, Women of the Renaissance Chicago and London: The Latin appears on — In publico, sub oculis vivorum, multis contrectantibus, paulatim effricatur frons, nutat cum verecundia pudicitia, adducitur utraque in discrimen.
See also Michael W. Middlemore London and New York: Penguin, , Pantheon, ; and his Italian Renaissance Sculpture, 3rd ed. Phaidon, , esp. Portrait Medals of the Renaissance New York: Abrams in association with The Frick Collection, , 41—43, citation at HarperCollins, , 38—57, esp. Studio per Edizioni Scelte, — , —61 and — The most exhaustive survey of the portraiture of Maria Salviati can be found in Langedijk, The Portraits of the Medici, — Studio per Edizioni Scelte, ; Richard A. Medieval and Renaissance Texts and Studies, , —75, esp. Arizona Center for Medieval and Renaissance Studies, , —64, esp.
Despite their removal from the agnatic family, women were represented in a state of perpetual mourning for their fathers and brothers during baptisms, weddings and funerals. Harper and Row, , For the Italian, see her note Flammarion, , 79— On sumptuary legislation, see also Frick, Dressing Renaissance Florence, esp. Essays in Honor of Eugene F. Chatto and Windus, , 81, for a list of those who received mourning costume. George Bull New York: For the Italian, see Castiglione, Il Cortegiano, ed.
Cisalpino-Goliardica, , Si porta 4 sorte de veste: See Frick, Dressing Renaissance Florence, Brill, , —30, esp. Tauris, , esp. Weaver, eds, A Well-Fashioned Image: Longanesi, , Catherine Richardson Aldershot, Eng. Ashgate, , 95—, citation at The French, also cited there, reads: Screech London and New York: From the start, this is an unusual portrait insofar as it represents a man mourning another man; such representations are rare in the early modern period.
But Alessandro, an accomplished — if merely a social — draftsman, was not the only one in his circle with a gift. I was in a place where I read a sign: They were also somewhat offended by my lateness. The sentence on the sign has a double meaning: If it is death, mourn your own, Bernardo.
For as surely as he is dead will you too die; or rather, you are dying; for from moment to moment your past life is dying. Grave Matters Put simply, what began with the death of the father ends with the death of the self. Alessandro was not only the illegitimate son of Pope Clement VII, patron of the chapel, but, more problematic, he was his son by his Moorish mistress, Simunetta. Hogarth Press, —74 , The Italian reads as follows: See also Richard C. Abrams, , More generally, on early modern race, see Thomas Hahn, ed.
In fact, it was because I dreamt of her as a widow. What I was in love with in her was the allegory of my own death. I make tender approaches to it, I smile, I joke or speak, just as if it could give me an answer. By an acknowledgement and a nod it seems to me often to want to say something, and to speak with your voice. Your son recognizes his father, and greets him with childish talk. This is my solace, and thus I cheat the long days. Providing a daily prompt for the widow to mourn the sitter, this portrait reassures the male viewer, still alive, that he, too, will one day be remembered — at least as long as his portrait hangs in the home.
But the success of such commemorative portraiture depends upon recognition. A portrait of Galeazzo Maria Sforza, now lost but perhaps painted by Baldessare da Reggio, went so far as to even trick the viewer, his son, into accepting representation as reality, according to a letter of And what of the way in which [painting] makes present to us men long dead, whose very bones have perished from off the face of the earth, so that we may imitate their noble deeds … It transmits memory of the living to those who come after them … And not only does the noble art of painting do all this but it sets before our eyes the likeness of any great man, whom on account of his deeds we desire to see and know … It prolongs for many years the life of one who dies, since his painted likeness remains; it consoles the widow, who sees the portrait of her dead husband daily before her; and the orphan children, when they grow up, are glad to have the presence and likeness of their father and are afraid to shame him.
This father mourns the death of a son, but he also grieves the severance of the lineage — a double loss that must be repaired. The partitioning of this vault is as rich as any we have seen so far. Why did you join the arms of the house of Sforza to these? I also painted these trophies for the embellishment and greater charm of the room. Tell me about the portraits in the tondi supported by putti in low relief under these stories.
You recognized him correctly, Your Excellency. The one opposite is Signor Giovanni himself. I could have recognized him myself, just as I do Signora Maria, the daughter of Iacopo Salviati and mother of the duke my lord. That is your father Cosimo, the son of Signor Giovanni, portrayed just six years before he was made duke. Granted, Cosimo is portrayed there at the prepubescent age of 12, without his trademark beard, symbol of manhood and masculinity.
I will return to this point shortly, but, for now, I already read the severed limb as suggestive of the limits of commemorative portraiture and, indeed, someone will come up short. But here, I suggest, the inclusion of the truncated branch may have held a more particular and personal meaning for Cosimo I. Indeed, the bequeathing of armor by a father to his son can be read not only as an aristocratic transmission of authority but also as a perpetuation of the name and memory of the elder.
Armor is monumental, enduring and protective; yet, composed of individual pieces of metal, it can also rust, be taken apart and melted down. Luckily, something else stands out in these portrait pairings — the codpiece, the predominant material mnemonic of this machismo costume. In the next section, reading the sartorial prosthesis as a fetishistic device, I will argue that such fanciful tailoring, offering up the illusion of a perpetual erection, simultaneously exaggerates manhood and alleviates the anxiety of loss.
Try this on for size: Also parted is his black overskirt, revealing his starched and, thus, as was the technique, perhaps, even urine-stained pants. He wears deeply pleated white satin trousers with a strikingly swollen and ribbed codpiece. Stiff and starched, slashed and pinked, perforated and pricked — let me suggest, here, that this sitter and his portrait are, indeed, much like his courtly colleagues, stained and full of holes from the start. In his right hand, which also peeks out, much like his ribbed codpiece, from under a black taffeta drape, he holds or, rather, conceals a portrait medal.
Cosimo I had arranged for Maddalena to marry one of his cousins; Capponi is said to have ignored family and political pressures to end their affair until, eventually, Cosimo I allowed them to marry. I suggest that Capponi prematurely mourns not just the possible loss of his beloved, Maddalena, but also the inevitable loss of an even greater love object — himself. Thus, his strategic memory system, stained and full of holes from the start, eventually fails.
Symbolically castrated, his tourniquet-like tying up of his hose suggests that both he and his costume have come undone; this will need reinforcing. The bibliophiles in question do not read these books; they carry them, hold them, even wear them. Their books are — literally and literarily — accessories.
Wherefore friends, though absent are at hand; though in need, yet abound; though weak are strong; and — still harder to say — though dead, are yet alive; so great is the esteem on the part of their friends, the tender recollection and the deep longing that still attends them. This is, indeed, a dialogue of absence. Though still marginal, her presence — as anything but homogeneous other — remains signal to the memorial task at hand.
To put it simply, seemingly co-dependent, this couple is decidedly disconnected. Indeed, this is a demanding portrait insofar as there is a determined duplicity here, deceptive in its doubleness. Bodies in Limbo Culminating my narrative of portraiture as both corporeal supplement and corporeal mnemonic, I turn to a few suggestive pairings that make explicit my notion of the literal and metaphorical widowed body. Yet if such pictures promise the perpetuation of memory, the overcompensatory inclusion of male portraiture would seem to guarantee it.
In other words, fusing the disjecta membra of the widow, her portrait and the man for whom she is the Other object of desire, I examine a selection of double portraits that position Medici men alongside Medici widows, a pictorial attempt at reconciliation. Some portraits of Medici widows disclose a curious project, whereby the woman is represented mourning her husband prematurely.
Giovanni predeceased his wife by 17 years, but he is portrayed as though alive during her mourning of him. A double portrait of , depicting Cosimo II, grandson of Cosimo I, at the age of six months with his widowed governess and cousin, Costanza della Gherardesca, likewise, prompts us to interpret the phantom limb not merely as the sensation of the presence of the widowed part but, rather, as the desire and longing for the widow herself Fig. I read this suggestive synthesis as another pre-emptive memorial strategy; however, if she stands in as his eventual widow, predeceasing him, that role would never be fully realized.
The double portrait may appear to reconcile the seeming incompatibility of man and widow — that awkward conversation between memory and memory loss — and yet the relationship between remembering and forgetting remains estranged. I end on a purposefully sketchy note, turning to three graphics and the grafting — and erasure — of identity implied there.
Cosimo — that nominal palimpsest so pertinent to the Medicean istoria of recuperation and re generation — is about to collapse. Indeed, without his crutch — that prosthetic project compromised with the death of his widow, Costanza della Gherardesca Fig. Of all the prostheses that mark the history of the body, the double is doubtless the oldest.
But the double is precisely not a prosthesis: Notes 1 Jean Baudrillard, Fragments: Cool Memories III, —, trans. Emily Agar London and New York: Verso, , Cambridge University Press, , Yale University Press, , 91—, esp.
Huic ego delicias facio arrideoque iocorque alloquor et, tanquam reddere verba queat. Assensu nutuque mihi saepe illa videtur dicere velle aliquid et tua verba loqui.
Agnoscit balboque patrem puer ore salutat: Hoc solor longos decipioque dies. Art and the Spectator in the Italian Renaissance Princeton: Princeton University Press, , — Cornell University Press, ; and Elizabeth D. Gratia dio lo illustrissimo conte sta bene, alegro, di bona voglia e molto dessideroso de vostra excellentissima signoria.
Spencer New Haven and London: Yale University Press, , For the Latin and Italian, see Ch. Oxford University Press, , 25—26; italics mine. See also Jill Burke, Changing Patrons: The Pennsylvania State University Press, , esp. Artist and Artisan New Haven and London: On the Masculine Ideal and the Body Beautiful Lydia Cochrane Chicago and London: The University of Chicago Press, , — More generally, on fathers and sons, see John M. See also Michael Rocke, Forbidden Friendships: Oxford University Press, , esp.
For the Italian, see Franco Sacchetti, Il trecentonovelle, ed. The University of Michigan Press, , —54; italics mine. Sansoni, , —88, citation at — Konrad Eisenbichler Aldershot, Eng. Pantheon Books, , — Studio per Edizioni Scelte, — , — Edizioni della Meridiana, , 75—, esp. University of California Press, , esp. Philadelphia Museum of Art, , esp. See also Robert B. Facing the Subject, ed. Joanna Woodall Manchester and New York: Manchester University Press, , 29—51, esp. I am less concerned with numbers and more concerned with iconography and socio-cultural function.
For the sake of consistency, I have relied on Langedijk for dating and attribution. I should mention here that Simon, , disagrees with Langedijk, —14, that the portrait in Kassel was the prototype; in addition, he assigns the Kassel portrait to the Workshop of Bronzino. See also Mario Scalini, ed.
Cambridge University Press, , —68, citation at Presse Universitaires de France, , — Centre for Reformation and Renaissance Studies, , For the Italian, see della Casa, Il Galateo, ed. Paravia, , Portrait of a Halberdier Los Angeles: Paul Getty Museum, On the codpiece in Italian Renaissance portraiture, see, esp. On the jutting elbow as a gendered gesture, see Zirka Z. Cornell University Press, , 84— Anne Dunhill Chicago and London: The University of Chicago Press, , —75, citations at , and Vallecchi, , — I am grateful to Janet Cox-Rearick for this reference.
See also Maurice Brock, Bronzino, trans. Flammarion, , An Illustrated Catalogue, vol. Jupiter, , — As only one example, a publication reproduces the portrait as it appeared before the restoration. Ashgate, , 83—; Bolzoni, The Gallery of Memory: Jeremy Parzen Toronto and Buffalo: The Quest for a Universal Language, trans. Stephen Clucas Chicago and London: Lukehart, eds, Writing on Hands: On Remembering and Representation Washington and London: Princeton University Press, ; and Frances A. Cambridge University Press, , 28— My reading of this double portrait is also informed by Robert S.
For the Latin, see Cicero: De senectute, De amicitia, De divinatione, ed. William Armistead Falconer New York: Putnam, , Verum etiam amicum qui intuetur, tamquam exemplar aliquod intuetur sui. The Johns Hopkins University Press, , xi—xii. Friendship and the Love of Painting Princeton: Sheila Faria Glaser Ann Arbor: Mark Musa Bloomington and Indianapolis: Indiana University Press, , Gayatri Spivak Baltimore and London: The Johns Hopkins University Press, Cambridge University Press, , esp. Dante and the Art of the Italian Renaissance. Deborah Parker, 22—23 See also Nancy J.
Dipinti e disegni a Firenze Milan: When the painting was restored in , the overpainting was removed, leading to the hypothesis that the child may be Cosimo. For this, see the following: Walters Art Gallery, , —28, esp. Bernard Berenson, in private correspondence with King, stated that the young child is not Cosimo but is, instead, a girl; for this reference, see Elizabeth Cropper, Pontormo: Giovanni had been dead for 59 years and Maria for 42; Cosimo I for 11 years.