Hubert Gerhard und Carlo di Cesare del Palagio: Bronzeplastiker der Spätrenaissance (review)
that their power could be effectively promoted through association with pagan gods such as Jupiter. This political application of mythological themes led to their migration into prestigious contexts such as large-scale wall and ceiling paintings in the state apartments of princes throughout seventeenth-century Europe. The wide lens through which Bull considers the Renaissance and Baroque revival of pagan mythology means that his conclusions are not necessarily pertinent or reliable in individual cases. In addition to enjoying the Olympian perspective Bull’s range provides, readers will profit from the separate analyses of the six pagan deities most favored in European iconography ca. 1400–1700 and the summaries by their myths’ literary sources. Everyone will enjoy his lively writing and the accompanying abundant, if poor quality, illustrations, but scholars will be frustrated by the sparse endnotes. SARAH BLAKE MCHAM Rutgers University