This study aims to visualize Giorgio Vasari's statement in discussing Jacopo Tintoretto's Female Concert of 1576-86, now at the Gemäldegalerie Alte Meister in Dresden (see Figure 1). Two conceits (concetti) are considered in analyzing Tintoretto's female imagery: (1) a fanciful invention of musica extravaganza; and (2) a Venetian allegory of bellezza. The first part of the essay discusses the provenance of the painting and the second part presents an iconographical interpretation of the imagery. This essay a…
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