Abstract

Bocchi's Opera sopra l'imagine miracolosa della Santissima Nunziata di Fiorenza of 1592 is concerned with the miracle-working image in the Florentine Servite church of SS. Annunziata. The image theory expounded in this book is in part derived from Aristotle, but Bocchi nonetheless allows for the fresco's miraculous nature. He addresses questions relating to the artistic authorship and style of the image, widely believed not to have been completed by human hand, and thus arrives at a new understanding of the fresco both within and outside the history of art as defined by Vasari's Lives.