Art critic and writer, collaborator with Vasari; his Letters form a proto-art history. Aretino's father was a shoemaker, known as Luca del Tura. Aretino himself trained both as a writer and an artist. After time in Venice and Siena, Aretino was in Rome by 1517 where he was attached to the household of Agostino Chigi (1466-1520). There he met Sebastiano del Piombo and Jacopo Sansovino, Raphael, and Michelangelo. He was briefly in the circle of Pope Leo X (1475-1521). Aretino was frequently associated with political tracts, satires and illustrated erotica.

1549 book, narrative history of painting.

Archaeologist; wrote works on Column of Trajan and decorative art. Boni was orphaned early and attended a commercial school in Venice. At nineteen, he assisted in the Doge's Palace restoration, but quarreled with the superintendent of the project, Forcinelli, over the restoration. This led to a crusade against over-zealous restoration. In the course of these activities, he corresponded with John Ruskin and William Morris (1834-1896). He entered the Venice Academy, studying architecture.

Leading Venetian writer on art in the seventeenth century; wrote a patriotic and polemical defense of Venetian painting, La carta del navegar pittoresco, (The Map of Painting's Journey), 1660). Le ricche miniere della pittura veneziana, 1674, (The Rich Mines of Venetian Painting). Boschini writing, like Ridolfi's, countered Vasari's claims that Florence was the birthplace of Renaissance art. However, Boschini's books were more orderly and well-thought-out than Ridolfi's.

Art historian and collector, established "Cicognara" art bibliography. Cicognara was educated in Modena at the Collegio dei Nobili. As a young man he knew the sculptor Antonio Canova. In 1788 he moved to Rome where he was admitted to the Società dell'Arcadia. There he studied art with Domenico Corvi (1721-1803) and the German painter Jacob Philipp Hackert (1737-1807). In addition, he gained an enthusiasm for classical ruins and contemporary art theory.

Specialist in Cretan and Mycenean art. Karo studied archaeology at the University in Bonn, writing his dissertation under Georg Loeschcke. Professor of Archaeology at Halle, 1920-1930. Director of Deutsche Archäologische Institut in Athens, 1912-1916, 1930-1936.

Historian of Spanish art and embelmata book collector; first art historian to use photo-reproduction in an art history book. Stirling was the son of Archibald Stirling of Keir and Cawder (1769-1847) and Elizabeth Maxwell (Stirling) (1793-1822), both among Scotland's oldest families. He was educated privately at Pilton Rectory, Northamptonshire, and Cossington Rectory, Leicestershire, before attending Trinity College, Cambridge. He graduated in 1839, the same year making a grand tour with George Holland of Germany, Switzerland, France, and Italy.

Architectural historian and museum curator. McAndrew graduated magna cum laude at Harvard University in 1924. He continued graduate studies at Harvard for three years, receiving his Master of Architecture diploma in 1941. He never sought a Ph. D.. McAndrew practiced architecture in the firm of Aymar Embury II for the another three years before studying in Mexico and Europe. During the late 1920s he met Alfred H.

Historian of Venetian architecture, painting, and drawing. A student of Giuseppe Fiocco, Muraro received his degree from the University of Padua in 1937, and later studied at the Scuola Archaeological Italiana in Athens, and the Scuola e Filologica delle Venezie. At the end of World War II, Murano dedicated himself to the preservation of Venetian architecture, organizing exhibitions that highlighted the Renaissance villas in the Veneto.

One of the most important and original Italian art historians of the second half of the 19th century; author of L'architettura e la scultura del rinascimento in Venezia large folio 1893 to 1897. Born to Oswald Paoletti.

Art biographer, painter and collector; his biographies of more than 150 painters in the Venetian state contributed to his title, "the Venetian Vasari." Ridolfi's father was a tailor (he used the name Marco Sartor in his will), who died when the young Ridlofi was five. Eventually his mother, Angela, remarried and he entered the studio of a local German painter (Ridolfi was of German decent himself). At thirteen, he traveled to Venice to study uner Antonio Vassilacchi, known as l'Aliense. A diligent student, he made drawings from reliefs and assisted the master.

Art-critic and art historian, exponent of the early Italian Futurists and unofficial cultural arbiter during the early years of Italian Fascism.  Sarfatti was born Margherita Grassini. Her father was a government lawyer and businessman, Amedeo Grassini (1848-1908), and he mother Emma Levi (Grassini) (1850-1900). The young Sarfatti was privately (and secularly) tutored at home; one tutor the secretary-general of the newly founded Venice Biennale, Antonio Fradeletto (1858-1930).

Marxist architectural historian of the Renaissance and modern era; architectural theorist. Tafuri was born to Simmaco Tafuri and Elena Trevi (Tafuri). His father was an engineer. He studied architecture at the Scuola Superiore di Architettura at Rome (now within the University of Rome La Sapienza). As a student, he campaigned against such figures as Enrico del Debbio (1891-1973) and Saverio Muratori (1910-1973) advocating for curriculum change to include urban planning and architectural history.

Architect and art historian, acclaimed for his Vite dei più celebri architetti e scultori veneziani che fiorirono nel secolo decimosesto.

Art historian of the Roman and early Christian period; founding member of the so-called first "Vienna School" of art history. Wickhoff was a student of archaeologist Alexander Conze and Moriz Thausing at the University of Vienna and the historian Theodor von Sickel (1826-1908), the latter the founder of historical "diplomatics," the method for determining the authenticity of documents. In 1879 Wickhoff was appointed inspector at the Kunstgewerbe-Museum under Thausing.

Historian of Venetian painting. Zanetti began as a draftsman and artist, collaborating with his cousin, also called Anton Maria Zanetti, in illustrations for books. In 1733 he adapted Marco Boschini pictorial analysis of Venitian painting, Le ricche minere della pittura veneziana, (1674) into a new critical work, his Descrizione di tutte le pubbliche pitture della città di Venezia e isole circonvicine.