1. Cennino d’Andrea Cennini, The Craftsman’s Handbook, trans. Daniel V. Thompson Jr. (New Haven: Yale University Press, 1933; republished New York: Dover Publications, n.d.), 1–3.
2. Peter Burke, The Italian Renaissance: Culture and Society in Italy (Princeton: Princeton University Press, 1986), 44. The following account draws on his chapter “Artists and Writers.”
3. Quoted in Joanna Woods-Marsden, Renaissance Self-Portraiture: The Visual Construction of Identity and the Social Status of the Artist (New Haven: Yale University Press, 1998), 188.
4. Cennini, Craftsman’s Handbook, 64–65.
5. Eve Borsook, review of Neri di Bicci, Le Ricordanze (10 Marzio 1453–24 Aprile 1475) ) [Neri di Bicci, Memoirs (March 10, 1453–April 24, 1475)], ed. and annot. Bruno Santi, Art Bulletin 61, no. 2 (June 1979): 314.
6. Jill Pederson, “Henrico Boscano’s Isola beata: New Evidence for the Academia Leonardi Vinci in Renaissance Milan,” Renaissance Studies 22, no. 4 (September 2008): 461.
7. Archives of the Academy, quoted in Karen-edis Barzman, The Florentine Academy and the Early Modern State: The Discipline of Disegno (Cambridge: Cambridge University Press, 2000), 35.
8. Quoted in Woods-Marsden, Renaissance Self-Portraiture, 1.
9. Quoted in Burke, Italian Renaissance, 75.
10. Quoted in Burke, Italian Renaissance, 76.
11. Quoted in David Alan Brown, “Leonardo and the Ladies with the Ermine and the Book,” Artibus et Historiae 11, no. 22 (1990): 56–57.
12. Quoted in Michael Cole, “Giambologna and the Sculpture with No Name,” Oxford Art Journal 31, no. 3 (October 2008): 339.
13. Plutarch, Moralia, 346.4, trans. Frank Cole Babbitt, Loeb Classical Library (Cambridge, Mass.: Harvard University Press, 1936), 4:501; also Moralia 18A. The translator gives the text as “Simonides calls painting articulate poetry and poetry inarticulate painting.”
14. Quoted in André Chastel, The Genius of Leonardo da Vinci: Leonardo da Vinci on Art and the Artist, trans. Ellen Callmann (New York: Orion Press, 1961), 38.
15. Quoted in Rudolf and Margo Wittkower, intro., trans. and annot. The Divine Michelangelo: The Florentine Academy’s Homage on His Death in 1564, a facsimile edition of Jacopo Guinta, Esequie del Divino Michelagnolo Buonarroti (Florence, 1564), 19.