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Gallucci’s Commentary on Dürer’s ’Four Books on Human Proportion’

Giovanni Paolo Gallucci


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1The current study began with my dissertation at the University of Maryland, and continued with an article published in Storia dell’arte. I would first like to thank Giles Knox, who introduced me to the study of early modern art theory, followed by Anthony Colantuono, whom I assisted in the paleographical transcription and translation for Orfeo Boselli’s Osservationi della Scoltura antica [Observations on Antique Sculpture]. It was Colantuono who first recommended that I translate Giovanni Paolo Gallucci’s Della simmetria dei corpi humani [On the Symmetry of Human Bodies] many years ago at the conclusion of my doctoral study.

2This present translation, however, came about more recently. After investigating the shifting landscape of art theory relating to pictorial stylistics, I turned to the more practical application of manuals for artists in their education (thanks to a reader’s comments on my first book). I’m indebted to the earlier work elucidating the impact and context of Charles Le Brun’s pathognomics by Jennifer Montagu, as well as Jean Julia Chai and her related translation of Giovan Paolo Lomazzo’s Idea del tempio della pittura [The Idea of the Temple of Painting].

3Within my own university, I would like to thank the previous president and provost, James Evans and Jann Weitzel, for allocating resources and funds that allow such publications to exist, as well as the current administration for their continued efforts in advancing scholarship and research. In my own school, I would like to express appreciation for the support of the dean of Arts, Media, and Communications, Joe Alsobrook, and the previous chair of the Art and Design department, John Troy. Their efforts ensured that I had the necessary course release to complete the current manuscript. Finally, several talented students assisted in reviewing the translation as part of their own research and scholarship and should be credited here; their contributions were immeasurable — Cristiano Pennisi, Mattia Forigiani, and Serena Rossi.


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