APA 6th Edition Meloni Trkulja, S. (1983). Giulio Clovio e i Medici. Peristil, 26 (1), 91-98. Retrieved from https://hrcak.srce.hr/153867
MLA 8th Edition Meloni Trkulja, Silvia. "Giulio Clovio e i Medici." Peristil, vol. 26, no. 1, 1983, pp. 91-98. https://hrcak.srce.hr/153867. Accessed 17 May 2021.
Chicago 17th Edition Meloni Trkulja, Silvia. "Giulio Clovio e i Medici." Peristil 26, no. 1 (1983): 91-98. https://hrcak.srce.hr/153867
Harvard Meloni Trkulja, S. (1983). 'Giulio Clovio e i Medici', Peristil, 26(1), pp. 91-98. Available at: https://hrcak.srce.hr/153867 (Accessed 17 May 2021)
Vancouver Meloni Trkulja S. Giulio Clovio e i Medici. Peristil [Internet]. 1983 [cited 2021 May 17];26(1):91-98. Available from: https://hrcak.srce.hr/153867
IEEE S. Meloni Trkulja, "Giulio Clovio e i Medici", Peristil, vol.26, no. 1, pp. 91-98, 1983. [Online]. Available: https://hrcak.srce.hr/153867. [Accessed: 17 May 2021]
Abstracts The author presents nw data on Julije Klović's relationship with Florence. As early as 1554 Duke Cosimo I tried to draw Klović into his service, but it took him until 1551 to succeed, when Cardinal Alessandro Farnese came to Florence from Rome. Vincenzo Borghini reports in 1552 that Klović was working for the Duke, and on 22 June 1553 he was provided with accomodation in the Pitti Palace. Here he remained until 11 November of the same year. By that date he had already painted the »Crucifix« (signed and dated 1553) and »Mourning«; until now it was believed that these two miniatures, along with a later »Self-Portrait«, were the only works that originated in Florence. The author discloses that there were seven works listed in the first inventory of Uffizi Gallery (1589) and thanks to their descriptions she identifies them as existing today; »St. John the Baptist«, »The Head of a Woman« (actually the Madonna from the Annuciation) and the »Rape of Ganvmede« where the central figure is a replica of Michelangelo's drawing, while Klović's is the addition of the figure of a dog and the landscape in the background. The »Portrait of Eleonor di Toledo« has been lost, but its appearance is known to us through a copy by Daniel Froeschel from the late 16th century. The author stresses, through her analvsis and evaluation of these miniatures, that their symbolic substrate is a faithful illustration of the refined culture of the environment of the Farnese family.