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The discourse of failure in seventeenth-century Rome: Prospero Bresciano's Moses

28 Charles C Perkins, Historical Handbook of Italian statuary (New York: Charles Scribner's Son 1883) 377; Alois Riegl, Die Entstehung der Barockkunst in Rom ed Arthur Burda and Max Dvorak (Vienna: Anton Schroll 1923) 122; Antonio Munoz, Roma Barocca (Milan: Bestelli e Tumminelli, 1928) 17; Bertha Harris Wiles, The Fountains of Florentine Sculptors and Their Followers from Donatello to Bernini (Cambridge, Mass.: Harvard University Pres 1933) 39; Venturi, Storia dell'arte, vol 10 pt 3 575 586; Riccoboni, Roma nell'arte, 115-16 117; and Claudio Strinati, "La scultura a Roma nel cinquecento," in Daniela Gallavotti Cavallero, Fabrizio d'Amico, and Strinati, L'arte in Roma nel secolo XVI, 2 vol (Bologna: Cappelli, 1992) vol 2 419 422

29 Isidoro Ugurgieri Azzolini, Le pompe sanesi, o'vero, Relazione delli huomini, e donne illustri di Siena (Pistoia: P A. Fortunati, 1649) pt 2 382: "in compagnia di Prospero Bresciano lavoro il Moise, che e in Roma alla fontana di Trevi."

30 Filippo Baldinucci, Notizie dei professori del disegno da Cimabue in qua, ed Ferdinando Ranalli, 7 vols. (Florence, 1846) facsimile ed notes by Paola Barocchi (Florence: SPE 1974-75) vol 3 470: "A Roma fece ancora altri lavori, e particolarmente si trovo a aiutare a Prospero Bresciano nella grande statua di Moise, che fu posta in una nicchia della facciata della mostra dell'acqua Felice a Termini." Elsewhere, however (591) Baldinucci writes that it was Leonardo Sormani (erroneously called Leonardo da Sarzana) who collaborated with Bresciano upon the statue.

31 Guglielmo della Valle, Lettere sanesi sopra le belle arti, vol 3 (Rome: Giovanni Zempel 1786) 430



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