Art history as we know it would not exist without Vasari, and Barolsky shows us that something of the same claim should be made for literary history. He demonstrates the ways in which a literary approach to Vasari's book deepens our understanding of its historical, art-historical, and imaginative character. Why Mona Lisa Smiles discusses Vasari's shrewd, witty, intimate awareness of Dante, Petrarch, and Boccaccio and relates the Lives to the works of Catiglione, Arentino, Cellini, and Rabelais. Barolsky reveals the unexpected fantasy of Varasi, who imagined and then invented artists and works of art, as well as totally fabricating the lives of artists about whom he knew little or nothing. Barolsky traces the myth of Pygmalion through the Lives, demonstrating that Vasari was himself a Pygmalion in words and showing that wittily played on the names of artists, revealing these poetical fantasies as part of the very iconology of Renaissance art. By aprroaching the LIves as a...

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