Alexander Marr’s new book on Mutio Oddi, Between Raphael and Galileo: Mutio Oddi and the Mathematical Culture of Late Renaissance Italy has been published by the University of Chicago Press.  The first full account of Oddi’s like and work, it includes a chapter on the Linder Gallery Interior as well as extensive discussion of Oddi’s activities in mathematics, the visual arts, architecture, and disegno.  It also examines Oddi’s relationship with Peter Linder, Daniele Crespi, Giovanni Battista Caravaggio, Federico Borromeo, and others.  For more details, see:

www.press.uchicago.edu/ucp/books/book/chicago/B/bo9478167.html

Disegno from the Linder Gallery

It is by no means clear whether the figure of Disegno in the Linder gallery is intended to be generic or a specific portrait.  Michael John has suggested Kepler as a possible candidate – which is certainly plausible, although I have yet to be convinced of the similarity between known portraits of Kepler and the features of the Linder gallery figure, and (frustratingly) there is no evidence that either Oddi or Linder was especially interested in Kepler and his works. An alternative possibility is that the figure of Disegno is in fact modelled on Mutio Oddi’s first tutor in the visual arts, the famous painter Federico Barocci of Urbino.  Barocci’s features, as depicted in his self-portrait of ca. 1600 are close to those of Disegno in the Linder gallery, if we imagine Barocci 20-30 years older (for the gallery was painted in the late 1620s).  Barocci would have been an ideal model for Disegno – he was internationally renowned as a master of design and  was the brother of the celebrated mathematical instrument maker, Simone Barocci, whose works Oddi distributed in Milan to patrons and friends – including Linder.  In fact, as Ian Verstegen has shown in a recent article, Federico used his brother’s instruments (notably the reduction compass) in making his drawings and paintings.  Thus, Barocci could be thought of as a figure for whom mathematics underpinned drawing, and the arts in general.  Oddi – who was exiled from Urbino – was always eager to promote his homeland (indeed, he circulated Barocci drawings in Milan).  What better way of doing this than by incorporating one of its greatest (but recently deceased) artists into the painting he helped to devise?  Just a thought…

Federico Barocci, Self-portrait (ca. 1600)

The foreground of the Linder Gallery is dominated by two figures, a bearded old man and a young woman in classical clothing reclining in his lap. Whereas the male figure appears to be a portrait, the female figure seems to be purely allegorical. The paintbrushes, maulstick and artist’s pallete would suggest that she can be identified as Painting, or perhaps more broadly as the Arts, given that she is also holding a sculptor’s mallet. Read more…