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The article looks at the activities of British art critic and illustrator George Scharf between September 1856 and October 1857. Topics discussed include his role in staging the Manchester Art Treasures Exhibition, several sketchbooks by Scharf that were compiled during his involvement in the exhibition, and Scharf's letters during the early months of 1857 to and concerning Ann Brownell Jameson.

The article explores the intentions of 16th century artist Michelangelo Merisi da Caravaggio for the composition of "The Taking of Christ" and its relationship with the his earlier work "Supper at Emmaus."

Bonifacio de Pitati's six paintings of the Triumphs of Petrarch have had a somewhat chequered history. The scheme was discussed at great length by Carlo Ridolfi in Le Maraviglie dell'arte of 1648, but from the mid-seventeenth-century the Triumphs were continually celebrated as important works by Titian. This essay seeks to reconstruct aspects of their appearance, provenance and critical history. As a result of their size and format, Bonifacio's paintings are of particular interest in the context of artistic depictions of Petrarch's Trionfi. Although the poem was frequently portrayed in the art of the period, this was mostly in the form of tapestries, prints or small-scale panel paintings such as cassoni and deschi da parto. It is argued that the nature and content of the scheme have been continually misunderstood and that, in addition to two paintings in the Kunsthistorisches Museum in Vienna, two further paintings in Weimar which have been dismissed as copies are actually survivors of the original set of six. An appendix acts as a guide to the scheme's complex iconography. [ABSTRACT FROM AUTHOR]

The article features Venetian painter Parrasio Micheli and discusses his efforts to succeed Titian in the patronage of King Philip II of Spain. Of his works only the large "Allegory of the Birth of Prince Fernando," is notable according to the article. After the death of Titian, he failed to muster the patronage of Philip nor of Cardinal Francesco de Medici chiefly because he had a rival in Tintoretto in Italy who secured the contracts that Parrasio coveted. The author characterizes him as an artistic parasite with limited originality.

Bonifacio de' Pitati's Dives and Lazarus reflects pressing concerns with poor relief, sanitation and the responsibilities of the Venetian aristocrat in Renaissance Venice. This article seeks to establish the picture's correct position in Bonifacio's career and places it in the context of other, seldom discussed versions of the theme by Tintoretto, Jacopo Bassano, Benedetto Caliari and Ludovico Pozzoserrato. In re-embodying Christ's parable on the porch of a contemporary mainland villa, many of these works invite an analysis of contemporary attitudes to villa culture and the socio-economic structure of sixteenth-century lagoon life. [ABSTRACT FROM AUTHOR]

In this article, the author attributes a 16th-century painting of Saint Francis to the Venetian Renaissance painter Parrasio Micheli. The author argues that the rediscovered work should be attributed to Micheli based on stylistic and circumstantial evidence, and not to the artist Francesco Beccaruzzi as other scholars have previously suggested. The author notes that Micheli's painting once decorated the walls of the Palazzo dei Camerlenghi in Venice, Italy.

The article discusses the artistic parentage of Palma Giovane in Venice, Italy. This paper presents evidence which suggested that it was Giovane's elder brother named Marcio Giovane who was originally designated to be the inheritor of the family firm. As indicated, it is evident that Bonifacio de' Pitati who is called Veronese and his wife took a great interest in Marcio. It may be that he shared the first name of de' Pitati's late father. According to Carlo Ridolfi, Giovane was train to draw by his father and there are a few scraps of proof which manifested to their artistic relationship.