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Notes
1 Laura Carnelos, ‘Street Voices: The Role of Blind Performers in Early Modern Italy’, Italian studies 71, no. 2 (2016): 184.
2 This title is taken from a Simone Guillain print of 1646, after Annibale Carracci’s drawing.
3 For a detailed discussion of these popular prints, known generically as the cris de Paris and the Arti di Bologna, see Sheila McTighe, ‘Perfect Deformity, Ideal Beauty, and the “Imaginaire” of Work: The Reception of Annibale Carracci’s “Arti di Bologna” in 1646’, Oxford Art Journal 16, no. 1 (1993): 75–91.
4 Sean Shesgreen, ‘The Cries of London from the Renaissance to the Nineteenth Century: A Short History’, in Not Dead Things: The Dissemination of Popular Print in England and Wales, Italy and the Low Countries, 1500–1820, ed. Roeland Harms, Joad Raymond, and Jeroen Salman (Leiden and Boston: Brill, 2013), 123.
5 Franca Trinchieri Camiz, ‘The Roman “Studio” of Francesco Villamena’, The Burlington Magazine 136, no. 1097 (1994): 506–16.
6 A. Hayatt Mayor, Prints & People: A Social History of Printed Pictures (New York: Metropolitan Museum of Art, 1971), 412–13.
7 Shesgreen, ‘The Cries of London’, 123–26.
8 Tom Nichols, The Art of Poverty: Irony and Ideal in Sixteenth-Century Beggar Imagery (Manchester: Manchester University Press, 2007), 213.
9 The translation was kindly provided by Associate Professor Andrea Rizzi, University of Melbourne. Italian inscription: ‘Son cieco, e giro il Mondeo, e uo girdando. / Il fegreto da guarri i calli. / E via mandar ogni sorte de calli. / Corfi la vita mia vado stentando. / Auoi che calli affai nei peidi bauete / Mister Tobia Rosolin galante/ Ne so un presente e so che car l’haurete.’
10 See Portrait de Mr. Ramponeau, published by Charpentier, Paris, in March 1760, and its discussion in Alberto Milano, ‘Change of Use, Change of Public, Change of Meaning: Printed Images Travelling through Europe’, in Reading Books and Prints as Cultural Objects, ed. Evanghelia Stead (Basingstoke, UK: Palgrave Macmillan, 2018), 145–48.
11 The inscription reads: ‘A Grotesque. / Fr. Villamena. Italian Painter and Etcher. / B. Assisi :1566 – D. 1626’.
12 Abraham Rees, The Cyclopaedia; or, Universal Dictionary of Arts, Sciences, and Literature (Philadelphia: [1805–25]), np.
13 Anna Grelle instead groups four of the engravings loosely as cries: the ink seller, blindman, gardener, and roast-chestnut seller. Anna Grelle, in Luigi Ficacci, Claude Mellan, gli anni romani: un incisore tra Vouet e Bernini (Roma: Multigrafica, 1989), 135–37.
14 Letter from Orde Poynton to Joseph Burke, 3 March 1961, University of Melbourne Archives, 1986.0037 10/119.
15 For a more detailed account of Frederic John Poynton and his son, John Orde Poynton, and their collection, see Jaynie Anderson, ‘Orde Poynton and the Baillieu Library’, Print Matters at the Baillieu (Melbourne: University of Melbourne, 2011), 7–19.
16 The inscription further reads: ‘Francesco Villamena. Italian Painter and Etcher. / B. Assisi abt 1566 – D.1626’.
17 Michael Bryan, Dictionary of Painters and Engravers, Biographical and Critical (London: George Bell and Sons, 1899), 669.
18 See the discussion of ‘Admirable grotesques’ in Milano, ‘Change of Use, Change of Public, Change of Meaning’, 145–50.
19 Nichols identifies a genre of ‘false beggar’ imagery and includes Guillian’s print in this category; Nichols, The Art of Poverty, 213.
20 Rosa Salzberg, ‘Print Peddling and Urban Culture in Renaissance Italy’, in Not Dead Things, ed. Harms, Raymond, and Salman, 38.
21 Sandra Cheng, ‘The Cult of the Monstrous: Caricature, Physiognomy, and Monsters in Early Modern Italy’, Preternature: Critical and Historical Studies on the Preternatural 1, no. 2 (2012): 197–231.
22 David Gentilecore, Medical Charlatanism in Early Modern Italy (Oxford and New York: Oxford University Press, 2006), 33.
23 For example, see discussion of the broadsheet ‘The Rarest Ballad that Ever Was Seen / The Blind Beggar’s Daughter of Bednal-Green’ in Simone Chess, ‘Performing Blindness: Representing Disability in Early Modern Popular Performance and Print’, in Recovering Disability in Early Modern England, ed. Allison P. Hobgood and David Houston Wood (Columbus: Ohio State University Press, 2013), 114–19.
24 Keith Moxey, Peasants, Warriors, and Wives: Popular Imagery in the Reformation (Chicago: University of Chicago Press, 2004), 72.
25 Carnelos, ‘Street Voices’, 186.
26 Gentilcore, Medical Charlatanism, 33.
27 Described as ‘Standing peddlar in right profile leaning on a stick’, with the Dutch caption at upper right: ‘Vander vande God-loost’. See F.W.H. Hollstein, Dutch and Flemish Etchings, Engravings, and Woodcuts, ca. 1450–1700 (Amsterdam: Menno Hertzberger, 1949–), vol. 24, no. 78.
28 See B.A. Stanton-Hirst, ‘Pieter Quast and the Theatre’, Oud Holland 96, no. 4 (1982): 214.
29 Translation kindly provided by Professor Bart Besamusca, Universiteit Utrecht.
30 Moshe Barasch, Blindness: The History of a Mental Image in Western Thought (New York: Routledge, 2001), 123.