NOTES
- Martin Davies, The Earlier Italian Schools, National Gallery Catalogues, London, 2nd rev. ed., 1961, p. 438.
- ibid., p. 436.
- ibid., p. 438, n. 5.
- Cited by Davies, ibid., p. 438, n. 6.
- ibid., pp. 436–438 passim.
- ibid., pp. 437–438.
- Painting and Experience in Fifteenth Century Italy, Oxford, 1972, p. 60.
- ‘Gli affreschi del Palazzo Petrucci a Siena—Una precisazione iconografica e un ipotesi sul programma’ Acta Historiete Artium, Tomus 24, fasc. 1–4, 1978, pp. 181–182.
- Davies, op. cit., pp. 436–437.
- ibid., p. 438.
- Baxandall, op. cit., pp. 59, 60; Tatrai, op. cit., pp. 179, 180.
- Baxandall, op. cit., p. 60.
- loc. cit.
- Art Journal, XXXV/3, Spring 1976, p. 296.
- loc. cit.
- Davies, op. cit., pp. 437, 438.
- ibid., pp. 438, 478 n. 31.
- Homer, Odyssey, X 156–173.
- Od. X 203–211.
- Od. X 212–215 (translation E. V. Rieu, New York 1946).
- Od. X 244–248.
- Od. XII 44–45.
- Od. XII 41–42.
- Od. XII 175–179, 197–200.
- Od. XXI 5–12.
- Davies, op. cit., p. 437.
- Od. II 107–110.
- Od. XIII 429–438.
- Od. XVII 195–196.
- The symbolism of the cat in many Italian Renaissance paintings is doubted by H. Friedmann, A Bestiary for St. Jerome, Washington, 1980, p. 162. He is inclined to accept the cat as just a factual part of an everyday scene.
- Od. XV 525–534.
- Od. XVII 142–161 (trans. Rieu). Rieu's lively translation of this passage would appear to illustrate Pinturicchio's inclusion of the Omen hawk in this scene. However, nowhere does Homer state that Peiraeos and Theoklymenos brought the hawk to the palace.
- Od. XV 539–543.
- Od. XVII 71–73.
- Od. XVIII 321–325.
- Od. I 113–117.
- Od. II 267–269; XXII and XXIV passim.
- Od. II 224–225.
- Od. XVII 67–70.
- J. Pollard, Birds in Greek Life and Myth, Plymouth, 1977, p. 155. In Od. III 372.
- Od. XVII 353–355; Od. XIII 287–289.
- Od. XXII 1–7, 381–387.
- Od. XXIII 239–240. Recognition of this bird as Athena is due to Mr. Ravi Glasser-Vora. I am grateful for his perceptiveness.
- od. I 319–320.
- Friedmann, op. cit., p. 23, has noted a number of unidentifiable small birds in the St. Jerome paintings.
- In The Renaissance Discovery of Classical Antiquity, Oxford, 1969, pp. 30–31, Roberto Weiss has commented that Petrarch only knew Homer from ‘a third-rate Latin version’. A century and a half later, it is reasonable to expect that Pinturicchio may have known Homer from a Latin or vernacular source which was more exact.