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286 Notessat, ‘‘Disegno e invenzione nel pensiero e nelle architetture del Vasari,’’ in Il Vasari storiografoe artista, 773–82. Le Mollé, Georges Vasari, 184–85, 193.63. Cennino Cennini, Il libro dell’arte o trattato della pittura, ed. F. Tempesti (Milan:Longanesi, 1984), 36 (section 13) [The Craftsman’s Handbook: The Italian ‘‘Il Libro dell’Arte,’’trans. Daniel V. Thompson Jr. (c. 1954; New York: Dover, 1960), 8 (translation altered)].Symptomatically, at this point in the recent French ed. (Le Livre de l’art, trans. V. Mottez[Paris: De Nobele, 1982], 10–11), the translator errs in a way that might be described aspost-Vasarian; this rendering has the drawing ‘‘emerging from the [disciple’s] head’’ (sortirde la tête), which is precisely the opposite of what Cennini wrote. [N.B.: The cited Englishtranslation also elides this point: ‘‘capable of much drawing out of your head.’’]64. Vite 1:172 [Vasari on Technique, 210].65. See Le Mollé, Georges Vasari, esp. 28, 43–60, 106.66. See, for example, this well-known sentence of Benedetto Varchi: ‘‘Today everyoneallows that both arts [painting and sculpture] have a common end, namely, the artfulimitation of nature, and also that they share one and the same principle, namely disegno.’’Cited by Barocchi, Scritti d’arte . . . , 2:1899. Note, too, that Il Disegno by A. FrancescoDoni was published in Venice in 1549.67. ‘‘DISEGNO, m. Forma espressa di tutte le forme intelligibili e sensibili, che dà luce all’intelettoe vita alle operazioni pratiche.’’ R. Alberti, Origini e progresso dell’Accademia del Disegnode’Pittori, scultori et architetti di Roma (1604), cited by Barocchi, Scritti d’arte . . . , 2:2056.See also Baldinucci, Vocabulario toscano dell’arte del disegno, 51.68. Federico Zuccari, L’idea de’ pittori, scultori, et architetti (1607), in Scritti d’arte diFederico Zuccaro, ed. Detlef Heikamp (Florence: Olschki, 1961), as cited by Barocchi, Scrittid’arte . . .), 2:2062. See S. Rossi, ‘‘Idea e accademia. Studio sulle teorie artistiche di FedericoZuccari, I: Disegno interno e disegno esterno,’’ Storia dell’Arte 20 (1974): 37–56.69. G. Paoletti, Discorso intorno alle imagini sacre e profane (1582), publ. and ed. Barocchi,Trattati d’arte del Cinquecento, 2:132–49 (‘‘Che cosa noi intendiamo per questa voce ‘imagine’ ’’).70. Zuccari, Idea de’ pittori, 2063–64.71. Ibid., 2065. Further on, he argues for the equivalence of disegnare and intendere(2066). This passage is discussed by Panofsky, Idea, 85–86.72. Zuccari, Idea de’ pittori, 2074, 2080–81.73. Ibid., 2068–70, 2107–18.74. This text reprinted in Alberti, Origini e progresso dell’Accademia del Disegno . . . ,2060–61.75. Rossi, ‘‘Idea e accademia’’ (55), aptly notes how, at the end of this grandiose development,Zuccari restores the figurative arts to the bosom of the Church, the state, andeven the army.Chapter 31. Again (see chapter 1, note 29), I cite the beautiful phrase of Pierre Fédida, ‘‘Passéanachronique et présent réminiscent,’’ L’Écrit du temps, no. 10 (1985): 23–45.2. See, however, Raymonde Moulin, Le Marché de la peinture en France (Paris: Minuit,1967; new ed. 1989). Pierre Bourdieu, ‘‘Le Marché des biens symboliques,’’ L’Année sociologique22 (1971): 49–126. H. S. Becker, Les Mondes de l’art, trans. J. Bouniort (Paris: Flammarion,1988), which contains chapters devoted to ‘‘aestheticians’’ and ‘‘critics,’’ but not onedevoted to art historians.