17th century AD

(22.) The preparatory study, signed and dated 1613, in chalk and brown ink 11 1/4 x 7 1/4 in. (28.8 x 18.3 cm), is in the Palazzo Bianco, Genoa, inv. 2804; see Birke, in GuudoRenie l'Europa, cat. B14c, 297 ill., who places this as the last of the projects, whereas Emiliani, in Guido Reni, 1575-1642, 69, and Pepper (as in n. 20), 441 45, argue that it represents the first design.

(23.) The shorter Torre Garisenda leans toward the taller Torre degli Asinelli. For maps and views of Bologna, see G. Ricci, Bologna, storia di un immagine, Bologna, 1976; idem, Bologna: Le cittd nella storia d'ltalua, Bari, 1985, and A. Emiliani, "Per una storia del `ritratto' felsineo," in Bologna: Centro storico, exh. cat., Bologna, 1970, 46-52.

(24.) Reni had frescoed the Glory of Saint Dominic for the chapel's new decorations in 1613-15; see Pepper, cat. 44.

(25.) These were SS. Annunziata and S. Maria degli Angeli; see Brighetti, 77.

(26.) The men in white were called "cochiettieri" and those in black "monatti"; see Brighetti, 151-52.

(27.) For discussion of the ways in which families illegally hid the sick from the authorities and secretly buried the dead, see Calvi (as in n. 9), 104-17.

(28.) In Tuscany, Pietro Testa's etched Three Lucchese Saints, 1630, includes recognizable monuments of Lucca in the distance behind the city's patrons; see E. Cropper, Pietro Testa, 1612-1640: Prints and Drawings, exh. cat., Philadelphia Museum of Art, Philadelphia, 1988, cat. 7.

(29.) G. Guandalini, ea., Il Palazzo Comunale di Modena: Le sedi, la citta, il contado, Modena, 1985, 166-68, 264, cat. 5.57 and 5.58, pls. 225, 231; and L. Peruzzi, in L'arte degb Estensi: La pittura del seicento e del settecento a Modena e Reggio, exh. cat., Modena, 1986, 114-15.

(30.) For Bononi's altarpiece (Vienna, Kunsthistorisches Museum), see A. Emiliani, Carlo Bononi, Ferrara, 1962, no. 57, pl. XV, figs. 47, 48.

(31.) For their traditional invocation during outbreaks of plague, see E. Male, Religious Art in France: The Late Middle Ages, ed. H. Bober, trans. M. Mathews, Princeton, NJ., 1986, 178-185; and idem, L'Art religieux de la fin du XVIe siecle, du XVIIe siecle, et du XVIIIe siecle (1951), Paris, 1972, 375-80.

(32.) For Bologna's patron saints, see Bombaci, 1-5, 8-10, 16-19, 33-42; F. Lanzoni, San Petronio: Vescovo di Bologna nella storia e nella leggenda, Rome, 1907; .A. M. Orselli, "Spirito cittadino e temi politico-cultural) nel culto di San Petronio," in La Coscienza attadina nei comuni italiani del duecento, Todi, 1972 285-330, esp. 286, 290, 306 n. 32; and I. Kloten, "La fortune di S. Petronio il patrono della citta e la politica delle immagini," in Il luogo e il ruolo della citta di Bologno tra Europa continentale e mediterranea, Atti del colloquio Comite International de l'Histoire de l'Art, 1990, Bologna, 1992, 87-101.

(33.) Proculus assassinated the tyrannical Roman prefect with an ax, which was also the instrument of his martyrdom. Although identified correctly by Johnston (as in n. 21), cat. no. 156, and Birke, 1981 (as in n. 21), 166-67, Proculus was again misidentified by Mazza, in Guido Reni, 1575-1642, 276. For Proculus and Florian, see Bombaci, 2-5, 16-19; Masini (as in n. 2), I, 124-25; Gian Domenico Gordini, "Floriano," Bibliotheca Sanctorum, Rome, 1964, V, cols. 934-38; idem, "Procolo di Bologna," Bibliotheca Sanctorum, Rome, 1968, X, cols. 1152-54; and M. Fanti, San Procolo. La chiesa, l'abbazia: Leggenda e storia, Bologna, 1963. Modern scholarship has revealed that Florian is essentially a fictive personage.