In Jakob Burckhardt's classic vision of the emergence of a new, individualistic consciousness in Renaissance Italy, the artist took his place behind the tyrant as one of the early escapees from the crumbling prisons of medieval corporate institutions. Although the picture of his progress from craftsman to free professional is more nuanced and qualified in the recent literature, the Italian artist continues to enjoy his reputation as one of the few permanent beneficiaries of the Renaissance. As the Wittkowers have written: “But the new day came when artists began to revolt against the hierarchical order of which they were an integral part—a day when they regarded the organization meant to protect their interests as prison rather than shelter.”1 At Florence, where artists first achieved a new self-consciousness as theorists and men of letters, private patronage supplied the wealth for a new level of status, higher than that of the craftsman, and weakened the ties of guild life. Not that Florentine artists of the late fifteenth and sixteenth centuries invariably became either successful businessmen or bohemians—though both types could be found there and elsewhere in Italy—nor did they revolt against corporate institutions altogether. But their new organization, the Accademia del Disegno, resembled the old guild structure only superficially and was, as its name suggests, a professional association uniting the artistic crafts rather than a type of guild.2 If the sixteenth century Italian artist lacked the social prestige of the lawyer, the notary, or the physician, neither was he any longer lumped together with the cobbler, the stonemason, or the apothecary.
Differential diagnosis of a thyroid mass, facial malar rash and ptosis on the flora in the primavera by Sandro Botticelli (1445–1510)
